


Watching Final Destination

by Jelsa12



Series: Horror Movies watches [1]
Category: Final Destination (Movies)
Genre: Anxiety Attacks, Crying, Cuddling & Snuggling, F/F, I Can't Believe I Wrote This, I Was Drunk When I Wrote This, I Will Go Down With This Ship, I Wrote This Instead of Sleeping, M/M, Men Crying, Mental Breakdown, My First Work in This Fandom, Other, Panic Attacks, Protectiveness, Ratings: R, This Is Why We Can't Have Nice Things, Why Did I Write This?
Language: English
Status: In-Progress
Published: 2020-07-06
Updated: 2021-02-27
Packaged: 2021-03-05 03:46:45
Rating: Explicit
Warnings: Creator Chose Not To Use Archive Warnings, Graphic Depictions Of Violence, Major Character Death
Chapters: 20
Words: 22,763
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/25117855
Author URL: https://archiveofourown.org/users/Jelsa12/pseuds/Jelsa12
Summary: I hadn't seen anyone who done it before, so yeah.
Relationships: Alex Browning/Carter Horton, Ashley Freund/Ashlyn Halperin, Hunt Wynorski/Nick O'Bannon, Kevin Fischer/Ian McKinley, Olivia Castle/Molly Harper, Peter Friedkin/Sam Lawton, Wendy Christensen/Erin Ulmer
Series: Horror Movies watches [1]
Series URL: https://archiveofourown.org/series/1819402
Comments: 14
Kudos: 19





	1. The Starter Chapter

**Author's Note:**

> This is my first time doing this. And sorry if Kimberly's is short.

Right after Alex Browning got his ticket ripped off, he jogged up to Carter Horton who then put an arm around his waist and started to walk but Alex stopped. “We need to wait for Tod.” Alex said, “do we have too,” Complained Carter. Alex stared at Carter until he gave in. “Alright fine,” Carter said as he gave in. And as they were waiting for Tod, a bright light surrounded them.

When Kimberly Corman and her friends started the car, after Kimberly said goodbye to her dad, as they were pulling onto the highway Route 23 a bright light surrounded them.

Wendy Christensen was taking pictures of her fellow seniors at the carnival for the yearbook. Everyone was having fun, she looked over to her girlfriend Erin Ulmer who was trying to win her a stuffed animal. And when she won a stuffed animal for Wendy a bright light surrounded them.

Hunt Wynorski and Nick O’Bannon are waiting outside Mckinley Speedway for Janet Cunningham and Lori Milligan and once they arrive, as they enter the speedway. A bright light blinded them.

Sam Lawton woke up in his and his boyfriend Peter Friedkin's bed. While waking up he realizes it's the retreat day, so when he tries to get up to get changed. Two arms shoot out from behind him and grabbed onto his hips to pull him down, “stop it, Peter. Today is the retreat and we need to get there early.” exclaimed Sam. “Ugh. Fine,” said Peter. So, they got dressed, got into their car, and drove to Passage Papers. Once they arrived, Sam and Peter both saw Olivia with her arm protectively around Molly's waist. As they walked over to them, A big flash happened.


	2. Before the Moive

**Notes for the Chapter:**

> The movie starts next chapter. I can't wait! Don't forget to comment.

A collective sound of thumps, screams, and grunts. Once everybody gets out of the massive dogpile, they see a girl who is 5’2 and who has dreadlocks that go down to her shoulders who is wearing glasses with a curvy body. “Welcome.” exclaimed the girl; “Who the Fuck are you!” yelled out “Racist” Carter Daniel. “ I'm Victoria but you can call me Tori, And I'm here to show you the future.” Said Tori calmly. ”What do you mean the future?” asked Kevin. “What happens to you guys after what you do in your time in movie format,” Tori explains. “Anyways, everyone chooses a seat and I need Hunt, Nick, Sam, Peter, Erin, Wendy, Kimberly, Thomas, Carter, and Alex upfront. Don’t Question it.” Tori Order. The seats looked like this:  
Front row: Alex, Carter, Kimberly, Thomas, Wendy, Erin, Nick, Hunt, Sam, and Peter.  
Second row: Tod and Terry, Frankie, Dano, and Shania, Ashlyn and Ashley, Carter and Cynthia Daniels, Olivia, and Molly. Both Alex and Tod's parents are there  
Third row: Valerie, Billy, Clear, Evan and Brian, Frankie, Samantha, Nadia and Andrew, Candice, and Issac.  
Fourth row: Tim and Nora, Ian and Kevin, Kat and Rory, Juile and Perry, Nathan and Dennis.  
Fifth row: Eugene, Jonathan and George, Lori, and Janet.  
Once everyone sat down, Tori realized something “Oh! I forgot something, these movies are going to show different relationships than the ones that you are in right now. Anyways, enjoy it!”


	3. Start of the movie

**Notes for the Chapter:**

> Double update. WHOOOOO

**January 15, 1999**

**Awaiting......each of us; a cold...dark...lonely place.**   
**Deny its finality. Deride its totality. Dread the inescapable**   
**inevitability......it will arrive.**

**The BLACK SILENT SCREEN senses this moment before a distant blues harp introduces a contemporary band's cover of Blood, Sweat, and Tears' campy, yet haunting, gospel, "And When I Die."**

**As the Introduction closes, RESONATES... A FLASH OF LIGHTNING!**   
**A CRACK OF THUNDER!**   
**Everyone in the theatre jumped**   
**CUT TO:**

**INT. ALEX'S BEDROOM - NIGHT - CLOSE - BED**

**An airline ticket is tossed INTO FRAME beside a suitcase; "EURO-AIR. FLIGHT #180. New York City (JFK) - Paris, Charles de Gaulle (CDG.) Departure: Thursday 13May. 16H25 - Arrival: Friday 14May. 05H40."**

**"And When I Die" Continues throughout the MAIN TITLES:**

**AN OLD TABLE FAN**

**swivels beside and open window. Outside, a humid spring THUNDER STORM drops warm, ominous rain. The figure of a seventeen-year-old boy, ALEX BROWNING, packing for a trip, passing the fan...**

**THE BED**

**A Paris guidebook is tossed atop the plane ticket. CAMERA PUSHES IN ON THE BOOK as the fan's breezes flip through the pages.**

**THE TABLE FAN**

**turns, head swiveling away from the bed.**

**TIGHTER - THE GUIDEBOOK PAGES**

**stop flipping, REVEALING A GUILLOTINE from the Reign of Terror.**   
**As an American passport is dropped beside the guidebook...**

**THE TABLE FAN**

**swivels, returning towards the guidebook on the bed.**

**THE GUIDEBOOK PAGES**

**FLIP. FLIP. FLIP. Alex's faint shadow continues moving about the room. The fan head swivels away, allowing the pages to settle... upon a Louvre masterpiece, Francisco de Zurbaran's Lying-in-the State of St. Bonaventure.**

**CAMERA CREEPS IN, teasingly on the dark faced corpse. The pages begin to turn once again.**

**TIGHTER, OMINOUS ANGLE - THE DESK FAN**

**There is more of a hint of coincidence as the blades whirl and head swivels. The boy's figure passes, blocking the breeze.**

**THE GUIDEBOOK PAGES**

**stop dead on... Jim Morrison's decorated tomb in the Cimetiere du Pere Lachaise. A pilgrim has spray painted "This is the End." Which in fact, it is... of the MAIN TITLE.**

“That was cool!” Exclaimed Kevin as Ian rolls his eyes.

**BARBARA**   
**Alex...**

**CAMERA ADJUSTS, to fully reveal Alex Browning as he turns toward the bedroom door. Alex is an average kid; handsome. A high school "everyman."**

“That's me.” Said Alex as Carter Hugs him on the side.

**One the wall amongst Yankee and Knicks posters hangs a pennant;**   
**"Mt. Abraham High School, New York. The Fighting Colonials!"**   
**Alex's mother, BARBARA, 45, walks in, excited and a bit anxious.**

**BARABRA (Cont'd)**   
**Tod and George's dad just called,**   
**he's picking you up at 10 in the**   
**morning. Bus leaves the high school**   
**for JFK at noon.**

**Barbara moves towards the suitcase to help him pack. Alex's father, KEN BROWNING, 48 appears, leaning against the door threshold, smiling enviously at his son.**

**KEN**   
**My suitcase workin' out for ya?**

**Alex nods and buckles it. Barbara reaches in to tear off an airline baggage I.D. ticket attached from the previous flight.**

**ALEX**   
**Whoa! Whoa! Mom, you gotta leave**   
**that on. It's like... the tag**   
**made the last flight without**   
**crashin' or anything, right?**   
**So, it should stay on, or with,**   
**the bag for good luck.**

**BARBARA**   
**Where would you get a nutball**   
**idea like that?**

“Wouldn’t you like to know.” Mutters Alex. Nick looks over at him, realizing how much he sees himself in Alex, and promises to himself if he ever meets him outside of this to act fatherly to him.

**EXTREMELY CLOSE - THE AIRLINE BAGGAGE MARKER**

**is torn away from the suitcase handle.**

**RETURN**

**As Barbara picks up the suitcase to place it on the floor... a dozen old baggage I.D. tickets spill from the outer compartment. She looks at Ken, as if "you?" The guilty party shrugs.**

**KEN**   
**I'm still here.**

**Barbara shakes her head as Alex smiles at his dad.**

**KEN (Cont'd)**   
**Seventeen and on the loose. Ten**   
**days in Paris. In the springtime!**   
**Live it up, Alex...**

**CAMERA INCHES INTO KEN as he winks at his son...**

**KEN (Cont'd)**   
**Got your whole life ahead of you.**

**ALEX**

**CAMERA CREEPS IN as, oddly, the words strike him portentously...**

**CUT TO:**

**INT. ALEX'S BEDROOM - LATER**

**The storm has ceased. The room is QUIET.**

**As if itself a presence, CAMERA CREEPS across the dark and motionless room TOWARD Alex, sleeping soundly. CAMERA CRANES DOWN to the level of the bed until Alex is in the f.g. and the room is visible behind him.**

**On the rear wall, the Fighting Colonials pennant begins to flutter slightly, as if affected by the moving breeze. The path of which is continued toward the bed, rustling the sheets, subtly blowing Alex's hair and continuing OVER CAMERA.**

**Even in his sleep, Alex shivers from the passing cold. His eyes open surprised to be suddenly awakened. He considers for a beat, then looks toward…**

“Are the windows open?” Asked Oliva

**THE WINDOWS**

**which... are closed.**

“That's creepy,” says Molly

**ALEX**

**puzzled, checks...**

**THE TABLE FAN**

**which is off.**

**ALEX**

**perplexed rolls over toward his digital clock. It's 1:00 a.m., however... the middle digit bar in the first zero faintly flickers so this time appears to read... 1:80.**

Alex remembers all of this and starts to look worried.

**Notes for the Chapter:**

> CLIFFHANGER


	4. Airport

**Notes for the Chapter:**

> I don't own Final Destination
> 
> Also, thank you for the 6 hits, don't be afraid to comment, I'll love to read what you think about my story.
> 
> I figure out how to bold things.

**AIRPORT P.A. (V.O.)**

**(overlapping)**

**Attention airline travelers...**

  
  


**CUT TO:**

**INT. JOHN F. KENNEDY AIRPORT - MORNING - TELEVISION MONITOR**

**FLIGHT 180 departs 4:25. Gate 39.**

**AIRPORT P.A. (V.O.)**

**This airport does not support**

**solicitors...**

**CAMERA ADJUSTS FROM the "Arrival-Departure Schedule" to REVEAL forty high school KIDS, four TEACHERS and several PARENTS are gathered inside the International terminal at J.F.K. Several of the students wear Fighting Colonial letterman's jackets or hats and shirts displaying "Mt. Abraham High, New York."**

**AIRPORT P.A. (V.O.) (CONT'D)**

**You are not required to give money**

**to solicitors.**

**Alex gathers his bags, as does his best friend TOD WAGGNER and his older brother GEORGE WAGGNER, standing before their father, JERRY WAGGNER. For Alex, any psychic tension from the night before seems forgotten in the fun and excitement of the trip.**

  1. **WAGGNER**



**Alright, you guys got everything?**

**TOD**

**Yeah, we're all set Dad.**

  1. **MURNAU, the French teacher (any further description necessary?) and leader of the class trip waves his arm.**



  1. **MURNAU**



**Les étudiants, allons en France!**

“students, let's go to France!” Mutter Clear

  1. **WAGGNER**



**Does that mean "go?"**

**Tod shrugs, "I guess" as he moves to his father and gives him a warm hug goodbye. Mr. Waggner then gives his older son a hug.**

**AIRPORT P.A. (V.O.**

**Atención señores pasajeros. No**

**es necesario contribuir...**

  1. **WAGGNER**



**I'll miss you guys.**

**Tod and George gives a wave, as does Alex, who is slapped on the back by Mr. Waggner.**

  1. **WAGGNER**



**Take care of those two, Alex.**

**ALEX**

**I will. Don't worry.**

**The group begins down the airport toward the check-in counter. In the f.g., before the boys, strides a girl, CLEAR RIVERS, 17, reading the TROPIC OF CANCER. The loner in the group, Clear wears dark colors against the insecerity of her sex appeal. She appears aloof and more wordly then the other students.**

**Readying his ticket and documents, Tod flips open his passport, checking out his photo.**

**TOD**

**I didn't think anything could**

**worse than my yearbook picture.**

**GEORGE**

**Now you know how I feel havin' to**

**look at you all the time.**

“YOU JUST GOT ROASTED!” Yelled Lewis

**AIRPORT P.A. (V.O.)**

**Avis aux passagers...**

**Mr. Murnau stops the group. Excited, he cups an ear with one hand while raising a finger toward the public address system.**

  1. **MURNAU**



**Entendez classe, qu'est ce que**

**c'est l'announce?**

**Everyone begrudgingly stops to listen.**

**AIRPORT P.A. (O.S. CONT'D)**

**Vous n'etes pas dans l'obligation**

**de contribuer aux demandes des**

**quemandeurs.**

**CARTER HORTON**

**is the class dickhead who mix and matches his role models in the most superficial manner. His hand is tucked into his girlfriend, TERRY CHANEY'S, waistband…**

“Why is my hand in Terry’s waistband when I'm with Alex?” Asked Carter; “Don’t you remember Tori said that relationships in the movies are going to be different.” explained Ashlyn. “Ok,” said Carter.

**CARTER**

**(re: MURNAU)**

**What the fuck's he want?**

**Terry, hot now, but with no idea what time will do to her in just five years, smiles obsequiously and mouths "shh."**

**P.A. SYSTEM (O.S., CONT'D)**

**cher aeroport n'est responsable**

**pour leurs activities.**

**Mr. Murnau scans the group, his expression looking for an answer. Clear Rivers keeps her head in her book as...**

**CLEAR**

**The airport doesn't endorse**

**solicitors.**

  1. **MURNAU**



**Tres bien, Clear! Tout droit!**

**She doesn't react. Her expression remains cool as Murnau leads the**

**procession forward. The boys continue. Alex sighs...**

**ALEX**

**Fuh-ck, do we have to put up with**

**that shit the whole time?**

“I'm curious about this now,” said Carter Daniels

**A hand reaches out to gently detain Alex. He looks up to find a HARE KRISHNA, dressed in everyday clothes, but head shaved and a mark on his nose.**


	5. Airport and Metal Detectors

**Notes for the Chapter:**

> I DON'T OWN FINAL DESTINATION

**HARE KRISHANA**

**Death is not the end.**

**CAMARA PUSHES IN ON ALEX... unsettled by the soft spoken, yet ominous, "Solicitation." The Krishana offers a small book, REALITY BEYOND THE MATTER: VAISHNAVA PHILOSOPHY.**

**As he hands the book to Alex, a female form ENTERS FRAME between them. The women is MISS VALERIE LEWTON, 30, a feisty English teacher whose figure inspires all the boys' fantasies.**

“ Damn! She is hot for a teacher!” Yelled Frankie. Valerie who was sitting behind him glared at him.

  1. **LEWTON**



**It will be for you if you harass**

**my students.**

**She places a hand on Alex's shoulder, herding him to the group.**

**HARE KRISHANA**

**(pissy)**

**Hare Rama.**

**Ms. Lewton turns and, while walking backward, flashes a smile...**

  1. **LEWTON**



**(mouths)**

**Fuck off.**

**As she turns her back and continues down the terminal...**

**CUT TO:**

**INT. CHECK IN DESK - AIRPORT - DAY**

**Alex's passport and ticket are set INTO FRAME and picked up by a female TICKET CLERK. Alex waits as she busily types into the computer and checks his passport...**

**TICKET CLERK**

**I have a few questions to ask you**

**this afternoon.**

**O.S., LOUD, EXAGGERATED plastic tiles rapidly CLICK and CLACK.**

**TICKET CLERK (CONT'D)**

**Did you pack these bags yourself?**

**The CLACKING CONTINUES, demading Alex's attention. His eyes turn forward.**

**ALEX'S POV - THE FLIGHT INFORMATION BOARD**

**Plastic tabs CLACK rapidly, settling on the word... "CANCELLED."**

**ALEX**

**CAMARA CREEPS IN on his dawning paranoia...**

**TICKET CLERK (CONT'D, O.S.)**

**Have your belongings remained in your**

**possession the entire time?**

**Alex absently nods. Again, O.S., CLACK CLACK CLACK. His eyes move to...**

**ALEX'S POV - (TIGHTER) - FLIGHT INFORMATION BOARD**

**The plastic tabs FLIP and CLACK rapidly, stopping on... "DEPARTED."**

**TICKET DESK**

**Alex is still considering the "messages..."**

**TICKET CLERK**

**Have you recieved any packages**

**from persons unknown to you?**

**Alex quickly runs the day through his head and flashes her the REALITY BEYOND MATTER book. She smiles, then leans over toward the baggage scales. Alex's eyes turn toward...**

**CLOSE - (MOTION SLOWED)- ALEX'S LUGGAGE**

**a new airline I.D. marker is attached to his bag.**

**RETURN**

**Alex eyes the new tag hoping it's "good luck." As the clerk returns his ticket and passport... CLACK, CLACK, CLACK.**

**TICKET CLERK**

**Same as your birthday.**

**Alex is puzzeled by the comment. He shakes his head if, "pardon me?" CAMERA INCHES INTO the ticket clerk gesturing pleasantly to the passport and ticket...**

**TICKET CLERK (CONT'D)**

**April 25th. Four-twenty-five...**

**your birthday is the same as your**

**departure time.**

**CLACK. CLACK. CLACK. Alex's eyes flash toward...**

**ALEX'S POV - (FULL FRAME) - FLIGHT INFORMATION BOARD**

**the title settles upon... "TERMINAL."**

**CUT TO:**

**INT. SECURITY AREA - AIRPORT - MONITOR**

**The ghastly green and reds of the X-ray monitors flash as carry on bags flash through the machine. CAMERA MOVES COUNTER to the direction of the conveyor belt. The pace and excitement of the collective group escalates as departure approaches.**

**Carter Horton and his girlfriend, Terry, take cuts in line with smug, bullying expressions.** Carter growls. **Unseen by the chaperones, no student, has the nerve to protest Carter's action. Alex, Tod, George and BILLY HITCHCOCK, heavyset with a New York Rangers jersey watches Carter and Terry with disgust.**

**BILLY**

**I can't believe they let that**

**dickhead on this trip.**

**GEORGE**

**His parents bought a ton of those**

**trip certificates we had to sell,**

**just to get him out of their hair**

**for ten days.**

The people who don’t have children looked at Carter with sadness. Samantha Lane who has two children got up from her seat walked down to Carter and gave him a hug, Carter tensed up because he only got hugs before from Alex, so he slowly hugs back and after their hugging, for a while, Samantha lets go to go back to her seat.

**Excited, Tod speaks in a convert tone over Alex's shoulder.**

**TOD**

**Dude, I so worked the ticket clerk**

**so you're sittin' next to Christa**

**and I'm next to Blake.**

**Alex looks up ahead of the metal detectors...**

**ALEX'S POV - TWO GIRLS**

**Attractive and they know it, CHRISTA MARSH and BLAKE DREYER appear clearly out of Alex and Tod's league.**

**TOD (CONT'D)**

**That's seven hours and most of it is**

**in the dark.**

**ALEX AND TOD**

**The boys dump their change in a plastic bowl.**

**TOD**

**Dude, if we don't get someone**

**going on this flight, we should**

**just call Dr. Kervorkian and put**

**ourselves out of our fuckn' misery.**

**As Alex and Tod pass through the metal detector, their eyes performing reconnaissance on Christa and Blake, the opening drum BLASTS of Boingo's "No One Lives Forever" OVERLAPS...**

The movie suddenly stops and when they start to wonder what's going on, Tori appears and announces “Everything the happens from this point on is the future, so prepare your buttchecks it's going to be a bumpy ride. Also, I am doing this for other movies too.”


	6. Dump Buddies

**Notes for the Chapter:**

> I don't own final Destination

**CUT TO:**

**INT. AIRLINE GATE - AIRPORT - AFTERNOON - CLOSE - GATE 39**

**CAMERA ADJUSTS from the sign indicating GATE 39. The class is squirrely and excited. Mr. Murnau, Ms. Lewton, and the parent chaperones are allowing kids to burn off steam at the gate, hoping for a calm flight.**

**CAMERA MOVES ALONG the awaiting passengers... Carter and Terry are making out, a step away from heavy petting...**

**Blake and Christa are flipping through Parisian fashion magizines... Billy Hitchcock lays into a Burrito Supreme…**

“Oh that looks so good, I'm starting to get hungry,” exclaimed Sam. 

**CAMERA MOVES to an empty seat. Clear Rivers ENTERS FRAME and sits,**

**struggling with her Walkman, coffee, books, and a cassette box handmarked "Boingo" (a cheat that We hear the song)**

**As she places her stuff on the unoccupied seat beside her, a Paris guidebook falls on the floor, opened but face down. A passing, unidentified, student reaches down and hands her the book, still open and face down.**

**CLEAR**

**Thanks.**

**The student continues down toward the observation deck. Clear looks at the opened guidebook.**

**CLEAR'S POV - GUIDEBOOK**

**Princess Di's Mercedes is totaled in a Paris tunnel. Besides the photo are two portraits of Diana and Dodi Al Fayed.**

**CLEAR**

**CAMERA INCHES IN as she shakes off a shiver down her spine. She looks up from the book toward the student who handed it to her, the identity of which is fully REVEALED to be Alex Browning.**

**He stands at the gate window, looking out at the plane.**

**ALEX'S POV - 747**

**It is raining. In the distance, MUFFLED THUNDER RUMBLES.**

**CAMERA CREEPS AWAY from the plane... huge, seemingly incapable of flight and yet we unquestioningly trust our lives in this machine. Emotionless. Cold. Lifeless, and yet soon full of life.**

**ALEX**

**CAMERA inches in on him.**

**TOD (O.S.)**

**Dude, let's take a dump.**

Candice facepalms

**Tod MOVES INTO FRAME beside Alex...**

**ALEX**

**Man, that is one George Michael**

**notch from being gay.**

**TOD**

**Dude, get wisdom. We're about to**

**board a seven hour flight. The**

**toilets in coach are barely**

**ventilated closets. What if your**

**body wants that airplane food out of**

**your system and you have to go torgue**

**a wicked cable and then right after**

**you walks in Christa or Blake? You**

**want them to associate with you with**

**that reflexive gag and the watery**

**sting in their eyes?**

**Alex takes a beat to consider…**

“What reflex?” said Carter. Hunt stifles a laugh

**CUT TO:**

**INT. MEN'S ROOM - AIRPORT - OVERHEAD**

**CAMERA LOOKS DOWN on two stalls. Alex sits in one, Tod sits in the other. O.S., OVER the airports P.A. SYSTEM John Denver's "Rocky Mountain High" begins…**

**ALEX**

**John Denver...**

**Upon the mention, CAMERA CRANES DOWN, TURNING, TWISTING UNTIL FINDING ALEX in a straight on CLOSE-UP. He listens, tense...**

**JOHN DENVER (O.S.)**

**He was born in the summer of his**

**twenty-seventh year...**

**ALEX**

**He died in a plane crash.**

**A P.A. ANNOUNCEMENT breaks into the song...**

**P.A. SYSTEM**

**Ladies and Gentlemen, thank-you for**

**your patience, at this time we would**

**like to begin pre-boarding of Euro-Air**

**Flight 180 to Paris through gate 39.**

**Really for the first time, Alex appears a bit tentative and pale. It is intensified by the return of the song…**

**JOHN DENVER (O.S.)**

**It's the Colorado Rocky Mountian High/**

**I've seen it rainin' fire in the sky...**

**CUT TO:**

**INT. BOARDING AREA - GATE 39 - CLOSE - ALEX'S BOARDING PASS**

**is torn along the perforated edge and handed back.**

**ALEX**

**looks down the paasenger ramp.**

**ALEX'S POV - RAMP TUNNEL**

**CAMERA CREEPS toward it... lit to cheat a feeling of no return.**

**O.S., distant THUNDER RUMBLES...**

Everyone in the theatre jumps.


	7. Before the disaster

**Notes for the Chapter:**

> I don't own final destination

**WIDER**

**There is something more emotionally tense about the moment of boarding than take-off. CAMERA PICKS UP Ms. Lewton searching...**

  1. **LEWTON**



**Anyone seen Billy Hitchcock?**

**How'd we lose him?**

**Tod nudges Alex toward the tunnel, the three boys start down the ramp, passing Mr. Murnau who checks his list, counting heads...**

  1. **MURNAU**



**Vingt huit, vingt neuf...**

**PASSENGER RAMP**

**Alex, Tod, and George catch up to Christa and Blake, excited. As always, everyone becomes bottlenecked just at the point of entering the plane. Alex looks out the ramp's side porthole window toward the back of the plane.**

**ALEX'S POV - THROUGH PORTHOLE**

**The enormous engine. The expansive wings. Behind the tail, distant, a bolt of lightning FLASHES!**

**ALEX**

**looks away. Just ahead, in the plane, FLIGHT ATTENDANTS greet the**

**passengers. He is next to enter the plane.**

**CLOSE - FLOOR**

**a slice of opening from where the ramp meets the plane provides a sense of how high up one actually stands.**

**ALEX**

**CAMERA PUSHES INTO HIM as he takes his first step into the plane.**

**CLOSE - AIRLINE CABIN FLOOR**

**Alex's Nikes land on the carpet.**

**INT. 747 - FIRST CLASS CABIN - AFTERNOON - CLOSE - BABY**

**SCREAMS! Its parents desperately comfort the child.**

**CAMERA ADJUSTS, LEADING George, Alex and Tod through the aisles. Alex and Tod wince at the screaming child. George, however feels comforted.**

Alex and Nick fawns at the child. Both Hunt and Carter smile at their boyfriends who are still fawning over the child.

**GEORGE**

**Good sign. Younger the better.**

**It would be a fucked-up God to**

**take down this plane.**

**INT. ECONOMY CLASS CABIN - 747 - AFTERNOON**

**In the first row slumps a young man with Amyotrophic Lateral Sclerosis. A cannula is set in his nostrils leading to an oxygon tank beside him.**

**The kids sneak sympathetic yet anxious glances at the man while continuing in their seats. George whispers over his shoulder...**

**GEORGE**

**A REALLY fucked-up God.**

**Alex's tension increases as he continues up the aisle.**

**ALEX'S POV - OVERHEAD COMPARTMENTS**

**CAMERA INCHES IN ON "Row 25. Seats H, I, and J."**

**ALEX**

**climbs into the row, carrying his backpack. He takes his window seat and reaches up to the air flow valve.**

**CLOSE - AIR FLOW VALVE**

**turns, HISSING, air streaming full blast.**

**CAMERA INCHES IN ON HIM as he takes in deep breaths of the stale air. He presses his face to the window.**

**ALEX'S POV - THE LEFT WING**

**Rain falls. GEARS WHIR as the ailerons are tested.**

**CLOSE - ALEX**

**CAMERA CREEPS TOWARD HIM, face to the glass; eyes scanning the plane and outside area.**

**CHRISTA (O.S.)**

**Alex?**

**He turns toward the aisle.**

**ALEX'S POV - CHRISTA AND BLAKE**

**Man, they look great and they're workin' the sex appeal.**

**CHRISTA**

**Could you trade seats with Blake**

**so she and I can sit together? I**

**asked Tod, but he says he's got some**

**medical thing?**

**ALEX**

**sneaks a quick check with Tod.**

**ALEX'S POV - TOD**

**shakes his head. "NO! NO! DON'T DO IT."**

**ALEX AND THE GIRLS**

**He looks to them and knows he is just plain overmatched. Alex shrugs, "Sure." In front of him Tod throws up his arms, disgusted. Alex climbs out of his seats. The girls are touchy-feely thankful, but only know guys dig that.**

**CHRISTA AND BLAKE**

**You're so sweet. Thanks, Alex.**

**Alex crames up into the aisles, making his way to Tod, sitting two rows up in 22 H.**

**Alex climbs over Tod to take the window seat. Clear Rivers sits in the seat directly behind Alex.**

**TOD**

**(mouths)**

**Fag.**

Alex glares at Tod.

**ALEX**

**C'mon, man, like you really thought**

**you were gonna tittie fuck 'em over**

**Greenland, or something?**

**TOD**

**Because of you, I gotta sit here and**

**watch fuckin' "Stepmom.”**


	8. The Diaster

**Notes for the Chapter:**

> I don't own final Destination

**As Alex sits, the tray table falls from its upright position.**

**He lifts the tray back up, but as he turns the latch, it BREAKS OFF in his hand. He briefly tries to jimmie the tray into postition, then gives up.**

**CAMERA FOLLOWS ALEX'S HAND as it rises. CAMERA SWEEPS IN EXTREAMLY CLOSE to the ATTENDANT CALL BUTTON. As Alex's finger engages the button, it lights up orange.**

**ALEX**

**The jet lurches. He looks...**

**OUT OF THE WINDOW - ALEX'S POV**

**The 747 begins rolling out of the gate.**

**ALEX**

**As he looks back, searching for the nearst flight attendant...**

**ALEX'S POV - THROUGH THE SEATS - CLEAR RIVERS**

**reads her book. Another leans to look out the window.**

**ALEX**

**lifts a bit out of his seat, searching for any flight attendant O.S., A PING.**

**CAPTAIN (V.O)**

**Flight Attendants prepare for**

**departure.**

**Looking fore in the cabin...**

**ALEX'S POV - NEAR THE FLIGHT DECK**

**The flight attendants strap themselves in for take-off.**

**ALEX**

**O.S., the ENGINE VOLUME INCREASES in PITCH and INTENSITY as the jet begins to taxi. Alex sits back as the tray over his lap. He looks out the window.**

**ALEX'S POV - THE RIGHT WING**

**appears motionless in the f.g. as the tarmac and runway signs roll past the window. THE ENGINE PITCH RISES...**

**ALEX**

**The ENGINES WHIR as the jet gathers SPEED. He checks the window.**

**ALEX'S POV- THE RUNWAY**

**is a blur. The airport terminals in the b.g. streak past. The wings lift, angled as the jet leaves the ground.**

**ALEX**

**O.S., his classmates CHEER and "raise the roof." The trip has begun.**

**CAMERA PULLS AWAY FROM ALEX, as if reflecting his easing of annoyance with the tray situation. He finally appears to notice the raucous reaction and settles back in his seat, slightly pushed by mild-g force. The upwarding angle increasing...**

**The cabin buffets, as if passing mild turbulance. Then...**

**The cabin sharply JOLTS! Everyone tenses, GASPS. CAMERA SWEEPS BACK TO ALEX. And just as he clenches his backpack... the cabin BANGS, ROCKS. THE ENGINES SPOOL TO A STALL. METAL TWISTS under extreme PRESSURE. The cabin dips, angles, sharply to the right.**

  
  


Everybody in the theatre jumps. Alex looks like he's damn near a panic attack, Terry looks afraid, Tod and Carter look sick to their stomach. Alex wants to bury his face into Carter’s chest but he can't look away.

**ALEX'S POV - THE CABIN**

**Passengers SCREAM! Unrestrained personal belongings fly across the aircraft INTO CAMERA, which BUFFETS and SHAKES...**

**OXYGEN MASKS**

**deploy from the overhead compartments. A prerecorded message, like that recorded by the black box of the crash of JAL# 123 August 12, 1985, BLARES over the P.A., with erie calm...**

**MESSAGE (V.O.)**

**Fasten seat belts...put on oxygen**

**masks...**

**ALEX**

**his hand trembles as he reaches for the oxygen mask and places it over his face. The ENGINES resuscitate. SCREAMING. WHINING. Alex checks out his window.**

**ALEX'S POV - OUT OF WINDOW**

**The plane is on its side, losing altitude. A slow, sick spin.**

**ALEX**

**breaths deep into his oxygen cup.**

**The JET ENGINES GRIND AND WHIR, as if the craft were in the midst of a last-ditch effort to regain stability; the sounds DEAFENING over the PASSENGERS' cruelly hopeless SCREAMS.**

**Then...**

**KA-BOOM**

Alex lets out a pained scream and starts to cry. Something in premonitions snapped and next, you know, there is a nest of blankets and pillows where in the middle; Alex is getting cuddles on his left, right, and chest. Nick on his left, Sam on his right, and Wendy in his lap while sitting on Carter’s lap

**A DEVASTATING EXPLOSION ERUPTS across the cabin, blasting a five foot hole in the fuseluge. Human limbs and blood spray, craft and passengers torn to shreds.**

**Dead students sit lifeless in their seats.**

**Every unrestrained object on board flies to the hole and through the fire; paper, books, luggage, pillows. A PARENT and a STUDENT clutch their seat in terror, SCREAMING before they are pulled into the sky.**

**Wind. Screams. Dying engines, a deafening blare.**

**ALEX AND TOD**

**SCREAM, pale, knowing there is no hope, no escape as the ENGINES DIE. The cabin begins to tilt downwards... then straight down. Debris tumbles toward the flight deck as if falling from a cliff.**

**OUTSIDE... the sick familiar SOUND of an aircraft going down.**

**ALEX is strapped to his seat, upper body facing downward toward the water. FIRE, WIND, AND BLOOD WHIP across him. A BUILDING WHINE CRESCENDOES before a second EXPLOSION RIPS ACROSS FRA** **ME…**

Alex looks away from the screen. Tori appears and looks around seeing some people in shock and crying, she pauses the movie; “Alright! I'm going to give you a fifteen-minute break; there are food and drinks in the other room!” exclaimed Tori. As everybody gets up to get food and drinks, they send pitying glances towards him. Jonathan Grove walked over to them and asked them if they wanted anything they said yes and told him what they each wanted. “I'll go help him.” Said Thomas Burke; Alex kept on snuggling with the other people but then Alex realized he didn't know their names; “what are your guys' names?” I'm Erin Ulmer and the woman whose head is in your lap is my girlfriend Wendy Christensen. I'm Hunt Wynorski and the Man on your left is my Boyfriend, Nick O’Bannon. Sup, I'm Peter Friedkin and the man on your right is Sam Lawton who is my boyfriend. I'm Kimberly Corman and the person who went to grab our food is Thomas Burke, what's your name? Alex. Alex Browning, the person behind me is my boyfriend Carter Horton. They started to talk to each other when Thomas and Jonathan came back with food and drinks. Tori came back and told them “ I'm going to start the movie again. So everyone backs into their seats.” Once everyone was back in their seats, she started the movie again.


	9. Fight Club

**Notes for the Chapter:**

> I don't own Final Destintion

**CUT TO:**

**CLOSE - ALEX'S TERRIFIED EYES**

**dilating rapidly, as the shock of what appears to be happening before him washes over his very psyche.**

“WHAT THE FUCK!” Yelled Cynthia

**CHRISTA (O.S.)**

**Alex?**

**ALEX**

**Drenched with sweat, trembling in his seat, his eyes dart toward Christa and Blake. They look great and they're workin' the sex appeal.**

**CHRISTA**

**Could you trade seats with Blake so**

**she and I can sit together? I asked**

**Tod, but he's got some medical thing.**

**Alex turns sickeningly disoriented. His eyes dart about, searching for evidnece of the catastrophe. There are none to be found. Alex blots from his seat, startling the two girls. He scrambles toward Tod, who looks at his friend, concerned.**

**TOD**

**Dude, what up?**

**Frenzied, Alex climbs over his friend, on top of the seat. Alex's panic has alerted the other students and a MALE FLIGHT ATTENDANT who makes his way to the row.**

**ALEX**

**grabs the tray table latch before the vacent seat. IT BREAKS OFF, JUST AS BEFORE. CAMERA PUSHES INTO ALEX, terrified. He begins to hyperventilate.**

**FLIGHT ATTENDANT**

**Is there a a problem, sir?**

**Alex's wild eyes and expression convey "no fucking kidding there's a problem." The flight attendant realizes this passenger is experiencing a serious episode.**

**Directly across the aisle, Carter Horton and Terry look at him with severe expressions**.

**CARTER**

**What's your fuckin' problem?**

**Mr. Murnau and Ms. Lewton unfasten their seat belts and rush toward Alex.**

  1. **MURNAU**



**Alex? Qu'est-ce se?**

**ALEX**

**Qu'est-ce se?! THE PLANE'S GONNA**

**EXPLODE!**

**Obviously, no one ever wants to ever hear that. The students tense.**

**THE FLIGHT ATTENDANT**

**immediately turns to other attendants, signaling for assistance with a quick definite gesture. In the b.g., attendants hustle toward the economy class cabin.**

**CARTER AND TERRY**

**CARTER TERRY**

**Shut up, Browning! You're not funny.**

“He’s telling the truth!” Yelled everyone in the theater

**ALEX**

**frenzied, begins moving toward the aisle.**

**ALEX**

**We have to get out!**

**This frightens everyone. Not the "prophecy," but his panicky, irrational behavior.**

**ALEX (CONT'D)**

**We have to get off this plane!**

**CLEAR RIVERS**

**CAMERA PUSHES INTO HER, hearing Alex's declaration.**

**ALEX (CONT'D)**

**Now! NOW!!**

**RETURN**

**Alex is desperately climbing over Tod, who is trying to calmly restrain his friend. Across the aisle, Carter Horton stands ready to quiet Alex, with force.**

**CARTER**

**Sit! DOWN! Browning!**

**TOD FLIGHT ATTENDANT**

**Alex. Alex! Easy, man. Take it Sir, if this is a joke,**

**easy. we don't tolerate such**

**humor.**

**The flight attendant restrains Carter with an extended forearm.**

**ALEX**

**I'm not joking! I'm not joking!**

**Ms. Lewton and Mr. Murnau move to the seats. Flight attendants try**

**restraining Alex from reaching the aisle.**

Carter is growling, Hunt’s is starting to get pissed, Carter Daniels and his wife (who are sitting with Jonathan Groves) grab both of Jonathan's hands and start to squeeze them. Rory Peters yelled, "HE'S TRYING TO SAVE YOUR LIVES DINGUSS!"

  1. **LEWTON MR. MURNAU**



**Alex, Knock it off. It's alright. Settle down, Alex.**

**ALEX**

**Listen to me! This plane will**

**explode on take-off!**

**FLIGHT ATTENDANT**

**Sir, we will remove you from the**

**aircraft if this continues.**

**CARTER**

**I'll remove him.**

Billy Hitchcock looked down

**ALEX**

**Fuck you! I'll remove myself!**

“GO ALEX!” yelled Tod and Billy

  
  


**Carter reaches for Alex, who pushes back, trying to get out. Carter responds aggressivly and now the flight attendant, Tod, and the two teachers are in the midst of the melee.**

“FIGHT! FIGHT! FIGHT!” cheered on Issac Palmer

**The Co-Pilot arrives to secure the situation. He grabs Alex and begins forcibly ushering him up the aisle.**

**A male flight attendant choke holds Carter from the back. Carter struggles but the attendant's postioning has the advantage. He begins removing Carter from the plane as well.**

**TERRY**

**He didn't do nothin'!**

**She follows the attendant, hitting him to help her boyfriend.**

**Just arriving in the cabin, Billy Hitchcock tries to fight past a**

**STEWARDESS to get to his seat. He is blocked by the mass of combatants as they are escorted out.**

**FLIGHT ATTENDANT**

**(he's had it)**

**Anybody in the aisle is off the**

**plane!**

**BILLY**

**No, wait, I was late... that's my**

**seat right there!**

**Under protest, Billy gets pushed back off the plane. Mr. Murnau and Ms. Lewton follow the pack of students and airline personnel as they move toward the exit, calling out to seated teachers and parents while hustling up the aisles.**

  1. **LEWTON MR. MURNAU**



**Everybody just stay where you Mr. Carpenter, keep an eye on**

**are. Just sit tight. things for a moment.**

**Tod watches, amazed and concerned for his friend. He looks across the cabin to...**

**TOD'S POV - GEORGE**

**his brother gestures, mouths... "you should go with him."**

**TOD**

**starts off down the aisles. CAMERA COUNTERS... ADJUSTING TO CLEAR RIVERS. Amongst the chaos, she considers for a beat, then grabs her backpack, stands and moves into the aisle to exit the plane.**

**CUT TO:**

**INT. BOARDING AREA/TUNNEL - GATE 39 - DAY**

**Alex, the co-pilot, Carter, the attendant, Mr. Murnau, Ms, Lewton, Terry, Tod and Billy proceed down the tunnel. Billy is confused by the chaos.**

**BILLY**

**I didn't do anything! I have my**

**ticket right here!**

**Arriving SECURITY OFFICERS quickly have control of the situation. Alex is taken to a seat at the gate and dropped there by the co-pilot, who, winded, eyes the officers.**

**CO-PILOT**

**You got this?**

**The officers nod. One moves toward Carter as he dropped in a seat away from Alex. Terry sits behind Carter.**

**The co-pilot and attendants start back toward the plane. Ms. Lewton hustles over to them and an airline representitive.**

**CO-PILOT**

**No one gets back on board. That's my**

**call.**

  1. **LEWTON**



**PLEASE... I've got forty students**

**going to Paris...**

**During these negotiations... CAMERA MOVES PAST Ms. Lewton and the Co-Pilot to the boarding ramp door...**

**Clear Rivers exits and takes a seat away from the others, aware she is unnoticed in the confusion. CAMERA INCHES IN as she looks up toward...**

**ALEX**

**CAMERA MATCHES THE MOVE TO HIM AS TOD and Mr. Murnau attempt to calm him down.**

**TOD**

**It's alright. It's alright. You're**

**off the plane. You're off the**

**plane...**

**Rattled, Alex attempts to compose himself. Ms. Lewton appears, hurriedly pulling aside Mr. Murnau.**

  1. **LEWTON**



**Airline's not taking this very well.**

**They'll let one of us back on and**

**the rest can grab a six-ten flight.**

**Gets in two hours later at DeGaulle.**

**It's alright. It's not that big of a**

**deal.**

  1. **MURNAU**



**I'll stay.**

  1. **LEWTON**



**No, you know the whole French thing.**

**Get on the plane.**

**Murnau understands this point and takes off toward the boarding ramp door. Pleading his case, Billy follows Murnau.**

**BILLY**

**I was in the bathroom. The lock was**

**stuck. I didn't fight with anyone!**

Erin turns around and gives Billy the “are you Sirius” look.

  
  


**Hustling toward the door. Mr. Murnau gestures toward Ms. Lewton as if "talk to her." He disappears down the ramp. CAMERA PUSHES IN as airline personnel CLOSE THE DOOR...with an ominous THUD.**

**EXT. GATE 39 - AFTERNOON - CARTER, TERRY & BILLY'S POV**

**Flight 180 pulls out of the gate, taxiing toward the runway.**

**INT. GATE 39 - OBSERVATION WINDOW - AFTERNOON**

**Carter turns over his shoulder, looking back angrily towards Alex. Terry wraps a calming/restraining arm around Carter's shoulder, but he starts towards Alex, seated with Ms. Lewton.**

**MENS ROOM ACROSS FROM GATE 39**

**Tod races out of the bathroom with a dampened paper towel. CAMERA FOLLOWS as he hands it to Ms. Lewton seated next to Alex. The teacher places it on Alex's forehead.**

**TOD**

**I called your mom and dad and**

**they're on their way.**

"You're so motherly," said Eugene Dix.

  1. **LEWTON**



**Alex, talk to me. What happened?**

**Alex looks at Tod, who nods. His friend's expression is soothing and open. With lowered tense tone, meant for only the two people beside him...**

**ALEX**

**I... I saw it... like, I don't**

**know... the plane took off. I saw**

**it leave the runway... I looked down**
    
    
      **and saw the ground...**
    


	10. Airplane Goes Boom

**Notes for the Chapter:**

> I DONT OWN FINAL DESTINATION

**Ms. Lewton and Tod exchange concered glances.**

**ALEX (CONT'D)**

**And then the cabin banged and the**

**left side exploded. The the whole**

**plane... blew up. It was so real.**

**Exactly how everything goes.**

**TOD**

**Been on many planes that blew up,**

**have you?**

**Good point. Alex looks away.**

  1. **LEWTON**



**You must have fallen asleep.**

**CARTER**

**We get thrown off the plane and blow**

**a half day in Paris because Browning**

**has a bad dream?**

**(mocking Alex)**

**It's going to explode! It's going to**

**explode!**

**TOD**

**Fuck off, Horton.**

  1. **LEWTON**



**Tod...**

**A raw nerve, Alex stands.**

**ALEX**

**Only trip you're gonna take is to**

**the fuckin' hospital.**

**Carter scoffs while moving aggressively toward Alex.**

“Reminds me of the time you got jealous of someone talking to Alex.” Mentions Tod.

**Carter makes a quick move and grabs Alex. The two security guards rush in to break it up. Chaos erupts agian as the two boys wrestle in the terminal.**

**OBSERVATION DECK**

**CAMERA PUSHES INTO Billy Hitchcock, depressed as he watches the plane take off...**

**BILLY**

**There they go and here we stay.**

**AIRPORT TERMINAL**

**One guard restrains Alex; another Carter. In the b.g. out of the observation deck window... Flight 180 lifts off the runway.**

**CARTER**

**You're payin' for my trip, Browning!**

**ALEX**

**I wish you were on the plane!**

**In the b.g. the 747 head and taillights suddenly, violently, ERUPT into a gigantic fireball of flame.**

A loud scream is heard, everyone looks to see both Alex and Tod crying, Terry pales, Billy looks sick, and Carter looks like he's about to pass out. The parents of both Alex and Tod look worried. 

**It takes a few seconds for the CONCUSSION to hit the terminal, but when it does... BOOM! A window SHATTERS! Chairs rock! People are knocked off their feet.**

**CAMERA SWEEPS INTO ALEX... stunned as he turns to the window...**

**ALEX'S POV - FLIGHT 180**

**The unceremonious speed of obliteration of hundreds of lives is cruel as flaming debris plummets from the early evening sky.**

**CLEAR RIVERS**

**CAMERA PUSHES IN ON HER, rattled, afraid, but aware of Alex as she is first to turn her eyes toward him.**

**GATE 39**

**Billy Hitchcock walks backward from the window, shocked by shocked step. Ms. Lewton drops to her chair as her legs give out.**

**O.S., ALARMS BEGIN. The two security guards tear off toward more urgent duties. O.S., OUTSIDE, SIRENS WAIL as emergency vehicles race to the tragedy.**

**CAMERA BEGINS TO MOVE toward ALEX... as Tod's head turns toward him, then Terry's... then Carter's. In the chair, beginning to cry, Ms. Lewton eyes Alex, as if afraid of him.**

**“HE TRIED TO WARN YOU GUYS BUT DID YOU LISTEN NO!” Shouted out Evan Lewis.**

**CAMERA CONTINUES. SIRENS PIERCING. The emergency vehicles' strobing red lights reflect in Alex's eyes, now in TIGHT as he looks out, frozen with shock... upon the doomed FLIGHT 180.**

**CUT TO:**

**INT. JFK INTERNATIONAL AIRPORT - PRESS ROOM #10 - NIGHT**

**SILENCE**

**A pair of Airline REPRESENTATIVES sit with the seven survivors, each numb with shock. Everyone is too raw with residual fear to show any emotion. They sit on folding metal chairs in an empty room, too bright from the fluorescent lights. Beneath their obvious trauma resulting from the catastrophe... each feels uneasy by Alex's presance.**

**The others sit away from Alex and Tod. Alex appears wrought with guilt. He checks the others out of the corner of his eye.**

**ALEX'S POV - THE ROOM**

**Ms. Lewton, Carter and Billy glare at Alex. Terry averts her eyes from Alex to bury her face in Carter's shoulder.**

**ALEX**

**frightened as anyone over what has happened, tenses, defensive and scared. With softspoken strength...**

**ALEX**

**You're lookin' at me as if I caused**

  1. **I did not cause this.**



**LEWTON, CARTER, TERRY, AND BILLY**

**maintain their uncertain expressions. With strained apprehansion, as if not wanting to "dabble in the occult," but needing an immediate answer.**

  1. **LEWTON**



**Is everyone dead? Are there any**

**survivors?**

  
  


“With an explosion like that. There are going to be no survivors.” Explained Andy

**Notes for the Chapter:**

> Should I make a headcanons book with the ships in the story? Tell me in the comments.


	11. The FBI is a Bitch

**Notes for the Chapter:**

> I don't own Final Destination

**WIDER**

**Alex is taken aback by the question, yet even his best friend looks at him for an answer.**

**ALEX**

**How would I know? You think I'm**

**some sort of...**

**CLEAR**

**He's not a witch.**

“Technically he is a seer,” said Roy Carson

**CAMERA PUSHES IN ON Alex, relieved and thankful, as he turns to her...**

**CLEAR RIVERS - ALEX'S POV**

**CAMERA MATCHES the move INTO HER as she looks up at Alex, not with fear or repulsion... but with knowledge of an unwanted but irrefutable connection.**

**WIDER**

**Causing a startle, the DOOR OPENS. Everyone's head whips reflexively toward the entrance. The strange event of the flickering lights is quickly forgotten.**

**A half dozen MEN and WOMEN enter the room, displaying official badges and passes. All but two are dressed in casual clothing, having been called in from home; the pair being F.B.I. Special Agents WEINE and SCHRECK. HOWARD SEIGEL and DON HAWKS are representatives of the National Transportation Safety Board. EILEEN WHALE and JACK ARNOLD are members of the Euro-Air "Trauma Team."**

**The officials are sympathetic and calm, exuding the confidence and security trauma victims look for at this time.**

**SEIGEL**

**Hello. I'm Howard Seigel, National**

**Transportation Safety Board vice**

**chairmen. We've notified your families**

**and they are on their way. Does anyone**

**feel they need medical attention or**

**spiritual counseling at this time?**

**Although the words are comforting, being in the position of having to hear them macabre. Ms. Lewton reacts, snapping...**

  1. **LEWTON**



**Have they found any survivors?**

**What's going on?**

**Seigel is calm, yet honest... carefully honest.**

**SEIGEL**

**The cause of the explosion is**

**undetermined. Nassau county**

**authorities are on the scene. Naval**

**search and rescue are en route.**

**He gestures... "and that's all we know." The group slips deeper into despair.**

**WEINE**

**We understand how you must be**

**feeling at this hour... and although**

**we know it may be difficult, we must**

**ask you some questions... regarding**

**today's events, while it's still**

**fresh in your minds.**

**The survivors dread the thought of recounting the horrible experience, yet collectively are ready to co-operate.**

"Survivors guilt." Said Thomas Burke

**WEINE**

**It may be valuable to our rescue**

**attempts, or any potential...**

**criminal investigation**.

**The agents, F.B.I. badges displayed in their pockets, turn their eyes, suspicioulsy, toward Alex.**

**ALEX**

**reacts, puzzled, as he realizes the Agents are focused on him...**

**CUT TO:**

**INT. A ROOM - AIRPORT - NIGHT - CLOSE - SCHRECK & WEINE**

**are direct and professional, with no hidden agenda in searching for the truth. Seigel and Hawks from the NTSB are behind them taking notes...**

**SCHRECK**

**You said...**

**(checks notes)**

**"Listen to me! This plane will**

**explode on take-off."**

**(to Alex)**

**How did you know that?**

**ALEX**

**CAMERA PUSHES IN as he looks up, nervous... not about suspicion toward him, but trying to explain what even he doesn't understand.**

**ALEX**

**I got this... feeling... a weird**

**feeling... I can't explain it...**

**WEINE**

**Did you take any seditives before**

**boarding, or on the plane. Sleeping**

**pills?**

**ALEX**

**No. I saw it. I saw it!**

**Tears well as he grows frustrated trying to convey the unique experience. Being trained, veteran officers, Schreck and Weine obsereve; allow him to talk.**

"Dude, You're forcing him into a mental breakdown." Cried out Carter, Tod, and Billy 

**ALEX**

**Not like a dream... more than that.**

**I experienced the plane exploding...**

**it was so horrible... I know what**

**they all went through tonight…**

“Deja vu is a bitch.” Said, Kimberly

  
  


**The officers remain quiet, gauging his explanation.**

**ALEX (CONT'D)**

**I'm not a pyschic... I've never had**

**this happen before...**

**The officers study him, unsure yet carefully...**

**SCHRECK**

**Did this "weird feeling" have**

**anything to do with you saying**

**you wished Carter Horton was on the**

**plane... just before it exploded?**

**Alex looks up, stunned. He didn't even recall this until now.**

**ALEX**

**No!**

**SCHRECK**

**Why'd you say it?**

**He considers, owing them an explanation. The he realizes...**

**ALEX**

**Because... I... never thought it**

**would really happen.**

**Weine leans foward...**

**WEINE**

**If that's the case, Alex... why did**

**you really get off the plane?**

**CAMERA INCHES IN as Alex considers, confused, emotional...**

**CUT TO:**

**INT. A ROOM - AIRPORT - NIGHT - TOD**

**CAMERA CONTINUES THE MOVE on Tod... as if just realizing...**

**TOD**

**My brother... told me to keep an eye**

**on Alex. He stayed... and I went to**

**make sure Alex was okay.**

**(a whisper)**

**He told me to get off the plane.**

“George is dead!” cried out Tod’s mom

**INT. A SECOND ROOM - AIRPORT - NIGHT - MS. LEWTON**

**displaying a similar sickened expression as Tod...**

  1. **LEWTON**



**Larry Murnau told me to get back**

**on... but I told him to go.**

**(pause, guiltily)**

**I sent him back on the plane.**

**INT. A ROOM - AIRPORT - NIGHT - WEINE**

**WEINE**

**No one forced you to get off the**

**plane. You told us you aren't friends**

**with any that did... so, why did you**

**leave the airplane?**

**CLEAR RIVERS**

**CAMERA INCHES IN as she looks up. With total resolve...**

**CLEAR**

**Because I saw and I heard Alex.**

**And... I believed him.**

"Thank you Clear!" Said Peter, A soft-sounding "Your welcome" came from behind him


	12. The Funreal

**Notes for the Chapter:**

> I don't own Final Destination

Chapter 13

**CUT TO:**

**INT. JFK INTERNATIONAL BUILDING - PRESS ROOM #10 - NIGHT**

**The surviviors have all returned to the room. They may be a group, but they are alone with their thoughts. The door is opened by Ms. Whale.**

**Alex's Mother and Father lead by a group of parents into the room. Each moves with grief, yet relief, to their child.**

**Barbara Browning grabs hold of Alex and holds him tight. The mother begins to cry. Ken Browning, eyes welling with tears, grabs his son's hand and squeezes. Alex does not cry. While holding his mother, he watches the others.**

**ALEX'S POV - CARTER AND TERRY**

**Their parents are concerned, but do not demonstratively show affection. Carter appears as if he wants to hug his MOTHER, but he can't bring himself to betray his self-image.**

**ALEX**

**his eyes moves toward...**

**CLEAR RIVERS**

**alone, hurt that no one has come to take her home.**

**ALEX**

**his eyes find...**

**TOD AND HIS FATHER**

**JERRY WAGGNER holds his son, both of them releasing anguished tears. Through his grief, however, Jerry stares at Alex with an expression of anger and accusation.**

“HE SAVED ONE OF OUR SONS AND YOU PRACTICALLY GLARE AT HIM! SHAME ON YOU.” Tod mother yell at her husband

**ALEX**

**CAMERA PUSHES IN ON HIM as he holds his mother tightly. OVERLAPPING... A CRACK OF THUNDER!**

**CUT TO:**

**INT. KEN BROWNING'S CAR - NIGHT**

**Alex sits in the back against the door, looking out the window at the storm. Clear Rivers is pressed against the other door. Everyone is slient. Outside, the STORM angrily rages.**

**Alex is unaware that Clear is watching him, searching for some answer that she will not now find. She looks up.**

**CLEAR**

**Here's good.**

**The car pulls over.**

**CLEAR**

**Thank you for the ride.**

**She opens the door and flashes one more look at Alex, but he appears unaware. She exits the car and as the door SHUTS...**

**CUT TO:**

**INT. ALEX'S BEDROOM - NIGHT**

**The room is empty, but the CAMERA is SLOWLY MOVING, as if ITSELF a PRESENCE. O.S., FOOTSTEPS move up the stairs. Alex appears, his parents behind him. He clicks on the light, sending a soft, safe, orange glow across the room.**

**ALEX**

**stands in the threshold of the doorway. His mother places a comforting hand on his shoulder.**

**ALEX'S POV - PENNANT**

**Mt. Abraham High School Fighting Colonials.**

**ALEX**

**and now, the tears arrive. He begins crying, SOBBING, as his mother and father hold him. O.S., OUTSIDE... lighting FLASHES... THUNDER RUMBLES...**

**CUT TO:**

**INT. LIVING ROOM - BROWNING HOUSE - NIGHT - TV**

**CNN broadcasts video footage of the disaster. Seat cushions and personal belongings float in the harsh floodlights.**

**LIVING ROOM**

**It is late and dark. Only the pale light of the TV spills across the living room. Ken and Barbara have fellen asleep, but their son remains awake.**

**Alex's red eyes are locked on the screen, mortified. O.S., a VICIOUS CRACK of LIGHTNING and immediate THUNDER... as if calling Alex to the window. He remains fixed on the TV.**

**ALEX'S POV - TV**

**An image of Hell as jet fuel burns on the ocean. O.S., as if furious at the slight, THUNDER BANGS...**

**ALEX**

**He turns, stands... and moves to the picture window, pulling the curtains aside as CAMERA PUSHES IN ON HIM...**

**ALEX'S POV - THE STORM**

**It is as if Nature is angry. Lightning BOLTS spiderweb across the sky. THUNDER BOOMS.**

**A shard of lightning breaks across the front yard. Oddly, it does not make contact. In the split-second strobe of lightning flash, the bolt abstractly appears as if it were a hand pointing directly at Alex.**

**ALEX**

**horrified, lurches away from the window, considering what he has seen. Just felt on the ROAR OF THUNDER...**

**CUT TO BLACK:**

**Over black:**

**MINISTER (V.O.)**

**Thirty-nine days have passed since**

**we've lost our thirty-nine loved ones,**

**friends, and teachers.**

**FADE IN:**

**EXT. MT. ABRAHAM HIGH SCHOOL - DAY - CLOSE - ALEX**

**wearing a dark suit and tie, sits beside his parents on white folded chairs. His head is bowed, guilty and sad...**

**MINISTER (CONT'D)**

**As each day passes without a**

**determining cause for the accident,**

**we ask ourselves, "Why?"**

**Alex raises his eyes and looks across the ceremony...**

**ALEX'S POV - TOD**

**sits with his mother, LINDA WAGGNER and his father, Jerry. Destraught, Jerry stares off blankly at the minister.**

**MINISTER (CONT'D)**

**Ecclesiastes tell us, "Man no more**

**knows his time than fish taken in**

**the fatal net...**

**ALEX**

**guiltily averts his eyes. Ken notes this and wraps a comforting arm around his son.**

**MINISTER (CONT'D)**

**...or birds trapped in the snare...**

**Alex checks over his shoulder.**

**ALEX'S POV - OVER HIS SHOULDER - LAST ROW OF SEATS**

**Special agents Schreck and Weine subtly survey the area, taking notes. Although their eyes are beyond sunglasses, the tilt of their head indicates they are watching Alex.**

**MINISTER (CONT'D)**

**...like these the children of men...**

**ALEX**

**turns away, tense. He looks at the minister.**

**MINISTER (CONT'D)**

**...caught when the Time falls**

**suddenly upon them."**

**CAMERA PUSHES INTO ALEX, feeling eyes upon them. He looks up...**

**ALEX'S POV - CLEAR RIVERS**

**is actually sexy and a bit scandalous in her black dress. Still, she is off by herself, eyes burning at Alex as if challenging him to challenge the words being spoken.**

**ALEX**

**self-consciously turns away, unable to face her, let alone the words being spoken.**

**MINISTER (CONT'D O.S.)**

**And so before we can heal, before we**

**can escape the presence of Death**

**Time, we must mourn and celebrate**

**theirs with this memorial.**

**WIDER**

**A student with a guitar and harmonica stands at the microphone. Without introduction, he begins Neil Young's "Long May You Run."**

**Two other students remove a cloth, unveiling a memorial sculpture etched with the names of the departed. The gathered stand and begin paying their respects to the memorial.**

"So, that's how we got that memorial, I always wonder how we got that." Says Kevin

**MEMORIAL LINE**

**Carter and Terry appear IN FRAME. Terry holds a rose. As they move slowly up toward the memorial, Alex gets in line behind them. Carter knows Alex is there, but will not look at him.**

**CARTER**

**Hope you don't think, Browning, that**

**because my name ain't on this wall...**

**that I owe you anything.**

**ALEX**

**I don't.**

**CARTER**

**(re: victims)**

**All I owe is these people.**

**(turns to Alex)**

**To live my life to the fullest.**

**Alex winces from Carter's breath...**

**ALEX**

**Then maybe you should lay off the**

**J.D.**

**Carter has an angry reflexive reaction, grabbing Alex threateningly by the forearm. Terry immediately tries to get Carter to release his hold.**

**CARTER**

**Don't ever fucking again tell me**

**what to do. I control me. Not you.**

**Carter and Alex lock eyes, Alex refraining from showing any pain caused by Carter's grip. Terry finally gets him to release.**

**CARTER**

**I'm never gonna die.**

**He moves off. Terry, however, holds a beat, eyes Alex and gently rubs the area of his arm, as if this is the only manner she can extend her gratitiude in Carter's presence. As Alex pats her arm, Terry quickly moves off.**

**Shaken, Alex considers whether to move foward to the memorial. He steps aside to let the others go ahead as Billy Hitchcock, who has finished paying his respects, spots Alex and heads back up the line.**

**BILLY**

**I took my driver's test this week at**

**the DMV...**

**Alex turns to him, increudlously..**

**BILLY**

**Got a 70. Lowest score, but I**

**passed. When I was done with the**

**test, the guy who drives with you**

**during the test, he goes, "Young**

**man, you're going to die at a**

**very young age."**

**(beat)**

**That true?**

**ALEX**

**Not here, not now.**

**(beat)**

**Not EVER!**

**Billy sighs, and moves OUT OF FRAME, only to quickly RE-ENTER...**

**BILLY**

**If I ask out Cynthia Paster, will**

**she say "no?"**

**Alex flashes Billy an angry glare. He gets the message and moves off, for good. Alex returns in line, moving toward the memorial.**

**Valerie Lewton places a rose at the base of the memorial then studies the engraved names as the students move past behind her. Alex approaches, watching her as she reaches out with a trembling finger, touching the etched names...**

**CLOSE - MEMORIAL**

**Linda Krauss... Thomas Lewis... John McConnell.**

**RETURN**

**Alex stands near her, sympathetically, understanding her pain....**

**ALEX**

**Ms. Lewton...**

**Her eyes fill with tears and fear. Alex places a comforting hand on her shoulder, but she reacts quickly, pulling away from him, her eyes piercing at him.**

  1. **LEWTON**



**Don't talk to me. You scare the hell**

**out of me.**

**Alex is shattered as the teacher moves away. Tod ENTERS and faces the memorial.**

**TOD**

**(a greeting)**

**Hey.**

**Alex notices Tod is in line behind him. Alex looks around for Tod's father. He is not in line...**

**ALEX**

**I don't want to sound gay, or**

**nothin, but... I miss you.**

“Dude, your always gay as fuck, especially when you're with Carter.” Mentions Terry

**Tod subtly nods, reaching out to the memorial.**

**CLOSE - MEMORIAL**

**Tod's hand moves across his brother's name... GEORGE WAGGNER.**

**RETURN**

**As Tod longs for his brother, then looks at his friend.**

**TOD**

**Me, too.**

**(beat)**

**But my dad doesn't understand. When**

**he's better; you and me, road trip**

**to the City. Catch the Yanks.**

**ALEX**

**That's a plan.**

**Tod nods. The two friends stand uncomfortably foar a beat before Tod gestures to the podium.**

**TOD**

**I gotta go. This thing Ms. Lewton**

**showed me in her class, they're**

**gonna let me read it. It says what**

**I'm feeling.**

**Tod holds his friend's arm for strength as he passes. Clear Rivers appears in line, holding a rose. She looks at the memorial, before her startling eyes turn to Alex. Even away from these circumstances, Alex would have trouble handling her intense maturity. As he begins to step away, she thrusts the rose to him. He looks up, puzzled.**

“Take the rose!” shouted out Alex mom

**CLEAR**

**Because of you... I'm still alive.**

**Thank you.**

**Alex takes the rose and she walks away. CAMERA PUSHES IN ON HIM as he eyes... feels... the red flower.**

**TOD (V.O.)**

**We say that the hour of death**

**cannot be forecast...**

**TIME CUT:**

**EXT. MT ABRAHAM HIGH SCHOOL - DAY - THE PODIUM**

**Tod nervously stands before the assembly, reading aloud with a sad, yet optimistic resolve. CAMERA PUSHES IN, at an ominous ANGLE and rhythm, to the podium.**

**TOD (CONT'D)**

**But when we say this, we imagine**

**that the hour is placed in an**

**obscure and distant future.**

**As he speaks, the sunlight suddenly turns to shadow.**

**ALEX**

**looks up at the sky...**

**THE SKY - ALEX'S POV**

**Within the deep blue, a single black cloud blocks the sun.**

**ALEX**

**CAMERA INCHES IN as, troubled, he looks back to Tod...**

**TOD**

**as he continues to read...**

**TOD (CONT'D)**

**It never occurs to us that it has**

**any connection with the day already**

**begun or that death could arrive**

**this same afternoon.**

**CUT TO:**

**EXT. WAGGNER HOUSE - NIGHT - ESTABLISHING**

**Storm clouds devour a waxing crescent moon above a modest home set amongst the edge of the woods.**

**TOD (V.O., CONT'D)**

**This afternoon... which is so**

**certain... and which has every hour**

**filled in advance.**


	13. Tod's Death

**Notes for the Chapter:**

> I don't own Final Destination

**INT. LIVING ROOM - WAGGNER HOUSE - NIGHT**

**A lone light glows. Jerry Waggner has fallen asleep, perhaps passed out, reclined in "dad's chair." Tod's mother is asleep on the sofa, balls of tissue on the floor. Tod enters the room and stares sadly at his parents...**

**Tod picks up a glass and swigs the remainder of his father's scotch before moving off and climbing the stairs.**

Tod’s mother slapped him upside the head.

**CUT TO:**

**INT. ALEX'S BEDROOM - NIGHT - CLOSE - TABLE FAN**

**swivels as it distributes its breeze.**

**ALEX**

**sits at his desk, dark circles beneath his eyes. Swamping the desk are printouts of Internet Web pages and newspaper articles concerning the crash of Flight 180, forensic engineering textbooks, NTSB reports on past airline disasters and... REALITY BEYOND MATTER: Vaishnava Philosophy.**

**Alex studies his mountain of research, increasingly obsessed.**

“That’s Alex for you when he gets fascinated by something he studies it obsessively.” Explains Tod

**An O.S. paper FLUTTER draws his attention to the newspaper being blown by the fan. He reaches out and grabs it. Headlines and photos report on the memorial service.**

**CAMERA PUSHES IN as he sighs, troubled...**

**ALEX'S POV - NEWSPHOTO**

**Clear Rivers sits in her seat, legs crossed, alluring and sexy and**

**mysterious.**

**ALEX**

**closes the paper, puzzled by his reaction. He shakes it off and throws the paper on the desk. Alex considers for a beat, then pulls open a lower drawer. Digging through the mess inside, he finds his stash... the April 1997 issue of Penthouse.**

“Why have a penthouse issue when you have me?” Carter mumbled

**CUT TO:**

**INT. BATHROOM - WAGGNER HOUSE - NIGHT**

**Alight CLICKS on REVEALING an old, '20's built bathroom. The toilet is beside the bathtub/shower, with just enough knee space to the counter cabinets when one lifts the toilet seat.**

**Tod puts the lid down and UNSNAPS his jeans. As he turns, pulls his pants down and sits, CAMERA MOVES to the CURTAINS... still... until a cold soft breeze causes them to billow. CAMERA FOLLOWS the wind as it CONTINUES into the room, rippling across shower curtains.**

**As the breeze passes Tod, he pauses... as if sensing, but not**

**understanding... this is more than a wayward autumn breeze. He moves to close the window, however, CAMERA CONTINUES as the air makes ITS way to the door.**

**The door is softly pushed closed by the breeze.**

**BACK OF THE TOILET TANK**

**Tod sits, back to CAMERA, which CRANES DOWN the tank, STOPPING behind the locking nut and water line pipe.**

**As the toilet FLUSHES O.S., CAMERA NOW MOVES INTO the locking nut, which begins to slightly rattle. Drips of water stream from the tank onto the floor.**

  
  


“That's weird,” Ian said

**CUT TO:**

**INT. ALEX'S BEDROOM - NIGHT**

**Alex flips the magazine open to a centerfold.**

**PENTHOUSE PICTORIAL**

**The model's pose and expression tempt Alex towards the momentary respite form his troubles. The caption beneath the centerfold pictorial reads, "Tymme Has Come Today!"**

**ALEX**

**considers the reports on the Flight 180 crash, then returns his attention to the magazine. He unzips his pants, then pauses... his eyes returning hesitantly to the newspaper photo of Clear...**

**CUT TO:**

**INT. BATHROOM - WAGGNER HOUSE - NIGHT- CLOSE- RAZOR BLADE**

**waits on the counter. CAMERA PULLS AWAY as Tod picks it up. He looks at his face in the mirror, as if behind him... a black indiscernible form, like a shadow, however, actually a presence incapable of reflecting light.**

**Tod whips around...**

**a puddle forms, creeping toward the heel of Tod's stocking feet.**

“TOD WATCH OUT.” yelled out Terry

**TOD**

**turns on the faucet and grabs his toothbrush, squeezing paste onto the bristles.**

**CLOSE - FAUCET**

**the f.g. running water is out of FOCUS. In the b.g. sits an unplugged radio.**

**TOD**

**notes the radio. CAMERA FLLOWS HIS HAND as he grabs the plug.**

**THE PUDDLE ON THE FLOOR**

**grows closer to his foot...**

**ELECTRICAL SOCKET**

**the radio plug is inserted.**

**TOD**

**turns on the radio...**

**JOHN DENVER (V.O.)**

**And they say that he got crazy**

**once and he tried to touch the sun.**

**spooked, quickly turns it off, unplugs it and pushes it aside.**

**THE PUDDLE ON THE FLOOR**

**continues to grow...**

**CUT TO:**

**INT. ALEX'S BEDROOM - NIGHT - NEWSPHOTO - CLEAR RIVERS**

**Odd how one can appear so erotic at a funeral.**

**ALEX**

**studies the photograph, then notices the rose she gave him. Succumbing to guilt, feeling like the freak all teenagers believe they are, Alex sets the paper back on the desk. He grabs the Penthouse and turns, opening the desk drawer in order to return the magazine, however...**

**A LOUD BANG turns Alex's head to the window!**

**ALEX'S POV - WINDOW**

**An OWL has apparently smashed into the window, awkwardly flapping its large wings, then turns its head toward Alex, large yellow eyes shining like an alien creature.**

“Owls are omens of death in some cultures.” Explained Clear

  
  


**WIDER**

**Startled, Alex reflexively throws the Penthouse across the room, pages tearing as it hits the sill. The giant bird flies off.**

**THE TABLE FAN**

**swivels, a page catching in the whirling blades.**

**A PIECE OF PAPER**

**torn form the magazine flits across the room.**

**ALEX**

**CAMERA INCHES IN ON HIM as the piece of paper ENTERS FRAME, floating and flitting until landing on his knee. He picks it up and turns it over...**

**ALEX'S POV - PIECE OF PAPER**

**is torn in such a manner that the only lettlers remaining from the**

**centerfold's caption are "...Tod..."**

“Tod…. I think you're going to die.” Whimper Alex

**CUT TO:**

**INT. BATHROOM - WAGGNER HOUSE - NIGHT - SHOWER CURTAIN**

**is pulled aside REVEALING two pairs of Linda Waggner's nylons drying on a retractable clothesline.**

**THE PUDDLE ON THE FLOOR**

**his foot slips...**

**TOD**

**falls foward.**

**THE RETRACTABLE CLOTHESLINE**

**retracts! WHIPPING wildly!**

Tod lets out a scream

  
  


**THE SOAP DISH**

**Tod's hand tries to grab anything to hold him. His hand slips, knocking over a bottle of shampoo.**

**TOD'S NECK**

**the thin clothesline coils around his neck. The plastic anchor wraps beneath the cord, essentially creating a noose.**

**PUDDLE ON THE FLOOR**

**He slips again.**

**TOD**

**falls against the back wall of the shower stall, pulled by the retracting wire. He kicks with his feet, desperately trying to gain a footing.**

Tod is in full-blown panic attack mode, George and Billy who is sitting next to him try to calm him down.

**SHOWER HEAD - TOD'S POV**

**quickly, reflected in the chrome... the dark shadow approaches...**

**BATHTUB**

**Tod's feet slip in the slick shampoo and water.**

**CLOSE - TOD'S EYES**

**flare. Blood vessels burst. He GROANS, attempting to call out.**

Everyone is looking at the screen terrified.

**THE BATHROOM DOOR**

**is closed.**

**INT. LIVING ROOM - WAGGNER HOUSE - NIGHT**

**Tod's parents remain asleep. O.S., a FAINT MUFFLE can be HEARD.**

**INT. BATHROOM - WAGGNER HOUSE - NIGHT - CLOSE - TOD'S NECK**

**his hands tear at his flesh, desperately trying to pull the cord from his neck.**

**TOD'S EYES**

**dart desperately toward the counter.**

**ON THE COUNTER**

**a pair of nose-hair scissors.**

**TOD**

**CHOCKING, GASPING, face turning purple, reaches for the counter.**

  
  


“C’mon Tod,” mutters Alex

**ON THE COUNTER**

**Tod's hand ENTER FRAME. The scissors, sadistically just out of reach.**

**TOD'S FACE**

**FALLS INTO FRAME, suspended by the cord, propped against the back wall of the shower stall, his bluish purple tongue grotesquely juts from his mouth.**

**TOD'S POV - DEATH**

**all four edges of FRAME appear to collapse as if by weight of the darkness until forming a myopic center. Then, from within the center... appears Tod's face. Although the expression is serene the pallor is grayish, until... suddnely, shockingly... Tod's face decays, as if ten years of rot in the grave is compressed into 72 FRAMES.**

**TOD**

**The moment of realization...**

**HIS FEET**

**kick upon the slippery basin. After a beat... they stop.**

**TOD**

**As his body settles... dies... CAMERA PULLS AWAY fully revealing his lifeless form. Once behind the toilet tank, CAMERA CRANES DOWN to the floor. The water eerily retreats from the floor, slipping back toward the base of the toilet and like a murderer, slips out of the night.**

Alex looked at Tod And started to cry again. George looks like he saw a murder, Billy looks dizzy, Terry is very pale, and Carter looks down.


	14. Aftermath of Tod's death and Clear's Garage

**Notes for the Chapter:**

> I don't own Final Destination

**CUT TO:**

**EXT. WAGGNER HOUSE - LATER - CLOSE - SIREN LIGHTS**

**whirl and flash INTO CAMERA. CAMERA CRANES DOWN, ADJUSTING to REVEAL a Paramedics vehicle, a Sullivan County, N.Y. Sheriff's patrol car and unmarked sedan.**

**CAMERA CONTINUES MOVING UNTIL REVEALING Alex Browning racing down the sidewalk. He runs into a CLOSE-UP, sweating, out of breath, expression horrified as he takes in the scene before him.**

**SPECIAL AGENTS SCHRECK AND WEINE**

**stand in the front yard. Schreck subtly redirects Weine's attention toward...**

**ALEX - SPECIAL AGENT'S POV**

**The boy franically moves to a paramedic.**

**ALEX**

**What happened? Is Tod alright?**

**SCHRECK AND WEINE**

**hearing this, they turn to one another, with an expression suggesting a deepening suspicion.**

**ALEX**

**sees the officers. Assuming they are sympathetic to his concern, he starts toward them, until...**

**CLEAR (O.S.)**

**Alex!**

**Alex stops, looks around. Behind the tree and in the shadows of the adjacent house, stands Clear Rivers.**

**CLEAR (CONT'D)**

**(a warning)**

**Get outta here!**

**CAMERA PUSHES INTO ALEX, stunned, but before he can ask any further questions, a METALLIC CLACKING draws his attention back toward the house.**

**ALEX'S POV - A COVERED GURNEY**

**is rolled out of the front door by paramedics and an official with a jacket marked "CORONER," Behind the body follows Tod's father. He pauses in the doorway as he spots Alex in the front yard.**

**ALEX**

**is pale, nauseous. His eyes follow his friend's dead body as it is rolled toward the paramedics vehicle. Tod's father approaches Alex, the agents stand nearby.**

**ALEX**

**What... what happened?**

**Mr. Waggner glares at Alex, accusingly.**

  1. **WAGGNER**



**Didn't you... "see" it?**

**Alex is stung, guilty. He averts his eyes. Schreck and Weine note this reaction.**

  1. **WAGGNER (CONT'D)**



**Couldn't you "predict" it?**

**Couldn't you read his mind?**

**Alex remains silent, hurt.**

**ALEX**

**Mr. Waggner...**

  1. **WAGGNER**



**You caused Tod so much guilt over**

**George staying on the plane that...**

**(breaking down)**

**He took his own life.**

**Alex is stunned, defensive.**

**ALEX**

**He wouldn't do it!**

**Mr. Waggner turns toward the paramedics van, as if "there's the proof."**

**ALEX**

**He... he told me we would be friends**

**again after you got better. After**

**you got over George. Why would he**

**make plans for the future if he were**

**planning on killing himself?**

  1. **WAGGNER**



**All my wife and I will ever know is**

**we wouldn't have lost our youngest**

**son... if you'd told our oldest to**

**get off the plane.**

**Alex is rocked as if having taken a punch to the face. Mr. Waggner begins to walk toward the peramedics vehicle. Alex eyes the F.B.I. agents, who, after studying for a beat, turn and move toward their vehicle.**

Hunt stands up and turns to Tod’s Dad and says “Do you hate Alex?” Tod's dad said nothing. “Then why are you treating him like shit.” Tod’s dad said nothing again, right before Hunt sat back down he flips him off.

**The gathered spectators begin whispering to one another, clearly about Alex, causing him to search for, what appears to be, his only ally, Clear Rivers.**

**ALEX'S POV - ADJACENT YARD**

**Clear is gone.**

**FRONT YARD**

**everyone has moved away from Alex, leaving him very alone. Alex's eyes remained locked on the peramedics' vehicle. As the ambulance doors CLOSE on the body of his best friend…**

“You're GOING TO GIVE HIM DEPRESSION IF YOU TREAT HIM LIKE THAT!” Yelled Nadia who was sitting with her boyfriend Andy, Carter D, Jonathan.

**CUT TO:**

**EXT. NEIGHBORHOOD - DAY - CLOSE - LEAVES ON TREES**

**A soft summer breeze passes through the leaves on a tree. A yellow leaf drops from the branch and flutters to the ground. CAMERA FOLLOWS until it falls upon an old cracked sidewalk.**

**A pair of worn Nikes ENTER FRAME just as the leaf drops before them. The feet and CAMERA HOLD until CRANING UP to REVEAL Alex, staring at the leaf with an expression reminiscent of the torn paper's message about "...Tod."**

**CLEAR (O.S.)**

**Almost Autumn.**

**Alex looks off toward a small unkept house, nestled at the edge of the woods. In the open garage stands Clear Rivers amongst cluttered artwork, supplies and tools. Her t-shirt's sleeves have been cut off and neck-line cut low. Her jeans have a revealing hole at the spot which once was a back pocket. She wears heavy black work shoes. A dog rests nearby on the floor.**

**ALEX**

**It's only the end of June.**

**CLEAR**

**(shrugs)**

**Yeah, but everthing's always in**

**transition. If you focus, even now,**

**one week into summer... you can feel**

**Autumn coming.**

**(beat)**

**Almost like bein' able... to see the**

**future.**

**Alex reads her intention loud and clear. She returns to her artwork. The dog GROWLS softly as Alex appraches the garage.**

**INT/EXT. GARAGE - CLEAR RIVERS' HOUSE - DAY**

**Entering the garage, Alex gets a closer look at her artwork. It's abstract sculpture and canvas work and pretty bad, at that.**

“Those are cool!” Exclaim Tim

**CLEAR**

**Know what this is?**

**She gestures to him to approach her. He tenses, awkward, but moves closer. Clear lifts a plastic cover off a canvas. Beneath is a mess of green and brown and orange; teen angst poorly communicated. Glued to the center is a twisted piece of metal.**

**ALEX**

**Like, um... you're mad about**

**something?**

**She sighs, "thanks a lot," then proud, but not enough to make her appear foolish over her bad artwork, indicates the metal.**

**CLEAR**

**A piece of debris... from the plane.**

**I went to the shore off the crash**

**site and it washed up on the beach.**

**ALEX**

**You went there? I've wanted to go**

**there, but I thought it was off**

**limits.**

**CLEAR**

**It is. But that didn't stop me.**

**Shouldn't stop you.**

Billy turned around in his seat and looked at Clear then said “Clear, I never thought of you being a rebel with how quiet you are on a daily basis.”

**Alex gently touches the piece of the plane, almost expecting to feel something more than cold metal. He looks to Clear...**

**ALEX**

**Why were you there last night?**

**While she cleans brushes with a can of turpentine...**

**CLEAR**

**Look, I've seen enough T.V. to know**

**the F.B.I. doesn't investigate teen**

**suicides. But they were there last**

**night, that means: one, they still**

**don't have a clue what caused the**

**crash. Two, they haven't ruled out**

**anything. And the fact that seven**

**people got off the plane is probably**

**weird enough, not to mention, that**

**one of those people had a vision, or**

**whatever, of it exploding minutes**

**before it did explode, is highly**

**suspicious. And it doesn't help that**

**the visionaries' friend just**

**committed suicide.**

**Alex eyes her for a long beat. She turns away from him, returning the can of turpentine to a shelf.**

**ALEX**

**Why were you there last night?**

**Clear turns to Alex. The two couldn't appear more different. She moves to a sculpture, an ugly black and green globular sculpture with a white dot in the center.**

**CLEAR**

**Know what this is?**

**Alex, cocks his eyebrow probably thinking, "a mess?" but tactfully shakes his head "no."**

**CLEAR**

**It's you.**

Carter bursts out laughing.

**Remaining dry and stoned faced, Alex tenses, uncomfortable.**

**CLEAR**

**Not a likeness. It's how you make**

**me feel, Alex.**

**ALEX**

**I'm... really sorry.**

**CLEAR**

**Like you, the sculpture doesn't even**

**know what, or why, it is. Reluctant**

**to take form. And, yet, creating an**

**absolute but incomprehansible**

**attraction.**

**Uncertain, and yet moved, Alex listens.**

**CLEAR (CONT'D)**

**Before that day, you were just**

**another suburban nothing that would**

**never have anything to do with my**

**life. And I'm sure you thought I was**

**some Marilyn Manson body-pierced**

**freak, or whatever.**

**(beat)**

**But at that moment... on the plane...**

**I felt what you felt. I didn't know**

**where all those emotions were coming**

**from until you started freaking out.**

“Are you an empath?” asked Erin to Clear who shrugged

**Alex sighs, embarrassed.**

**CLEAR (CONT'D)**

**I didn't see what you saw, but I**

**felt it. Okay, I'm not into all that**

**X-Files bullshit... but it was a**

**psychic connection. Why to me? Why**

**to you?**

**Jarred, he eyes her, frightened.**

**CLEAR**

**And you can still feel it, can't**

**you? Something from that day is**

**still with you. I know, because I**

**can still feel you.**

**Alex is increasingly uncomfortable with the subject, but eased by Clear's apparent, somewhat, understanding. Lowering his tone...**

**CLEAR**

**That's why I was there last night.**

**ALEX**

**I've never dealt with death before.**

**I wasn't alive when my grandparents**

**died. I wish I could know. I mean,**

**all this... could just be in our**

**heads. Now it feels like it's**

**everywhere.**

Tori who was hiding from them took notice that Alex being mistreated is making some of the women in the room motherly instincts flare-up. And how the people who saw the deaths were huddling around him.


	15. Meet William Bludworth

**Notes for the Chapter:**

> I don't Own Final Destination

**CLEAR**

**"It?"**

**ALEX**

**What if Tod... is just the first...**

**of us?**

Everyone was wondering what he meant by that.

**The idea sends a shot of apprehension through Clear.**

**CLEAR**

**Is that something you're "feeling?"**

**ALEX**

**I don't know. I wish I could just see**

**him... one more time, then, maybe...**

**I would know.**

**CLEAR**

**Then, let's go see him!**

**Alex reacts, shocked and yet her impulsiveness is exciting...**

**CUT TO:**

**INT. FUNERAL HOME - FOYER - NIGHT**

**CAMERA is LOW, moving across the paisley carpet. Dim light, spilling through the stained glass windows, falls upon the creepy decor, appearing as if designed by a morose Laura Ashley, floor model coffins and urns. CAMERA CONTINUES, TILTING UP to the CEILING, REVEALING a stained glass skylight. Outside, on the roof, two silhouettes appear...**

**The skylight hinges CRACK open. Clear leads the way. lifting the frame, then dropping it throught the skylight window.**

**Alex is not as smooth as his socius criminus. Using his knee to slow his descent, he hangs from the sill for a moment before dropping to the carpet.**

**CAMERA MOVES WITH Alex and Clear through the unsettling reception area; plastic flowers, gold candelabra, plaster cherubs and angels. A bronze plaque identifies: "MT. ABRAHAM FUNERAL HOME. THE JOURNEY'S END. WILLIAM BLUDWORTH - INTERMEDIARY."**

**CLEAR**

**(whispering)**

**Gives me a rush...**

**ALEX**

**This place?!**

**CLEAR**

**Doin' somethin' I'm not supposed to.**

**With a hot, mischievous smile, Clear proceeds toward the hallway. Alex anxiously sighs... then follows.**

**INT. DOWNSTAIRS HALLWAY - FUNERAL HOME - NIGHT**

**An elevator with collapsible metal door lowers INTO FRAME. Pushing the door aside, Alex and Clear proceed into the hallway, lined with morgue green tile. Stainless steel gurneys and porcelain equipment holding yellow surgical tubing and thick foot-long needles sit in the corridor.**

**A faint light spills from beneath a doorway. Clear reaches out to the knob but Alex quickly grabs her hand. From a cart behind them, he pulls a latex glove out of a box and snaps it on.**

**CLEAR**

**Good call. Very "Quincy."**

**Alex tries the doorknob. Locked. He looks at her, defeated. Clear quickly points to some mortician's tools on the cart.**

**From it, Alex produces a thin six inch needle. He inserted the tool in the lock and jimmies the doorknob. CLACK!**

**INT. MORGUE - FUNERAL HOME - NIGHT**

**A lone desk lamp shines. Across the room, laying on a porcelain table, fluid draining tubes attached, lies Tod. A sheet is pulled up to his shoulders. He carries the macabre appearence of a corspe having been made up by a mortician. Hair combed and sprayed, skin tone too orange, blush too rouge and lips too red.**

**As Alex and Clear approach...**

**ALEX**

**That... him?**

**CLEAR**

**I think. But why'd they make him**

**up like... Michael Jackson?**

**ALEX**

**That's him, but... he's not here.**

**That... whatever... that whatever**

**made him Tod is gone.**

**Suddenly, Tod jerks; his hand lifting four inches...**

Everyone screams

**ALEX CLEAR**

**Ahhh! fuck! You fucking Ohmygod! OHMYGOD! OHMYGOD!**

**asshole. You think this He's not dead?**

**is funny, you fucking**

**dick? Tod, if you're**

**not dead I'm gonna**

**fucking kill you!**

  1. **BLUDWORTH (O.S.)**



**Please don't yell...**

**Both are jolted again with shock, turning toward the voice...**

  1. **BLUDWORTH**



**CAMERA PUSHES, LOW ANGLE, INTO WILLAIM BLUDWORTH, an African-American man, early 50's, dressed in dark suit and tie.**

  1. **BLUDWORTH**



**You'll wake the dead.**

"I see dead people," mutters Nathan

**He flashes a dry mortician's smile, pleased by his wan pun. Alex and Clear haven't recovered from the corspe's actions to calmly address Bludworth..**

**ALEX**

**Why..?**

**Alex completes his question by raising his hand, ala Tod's dead body. Bludworth nods, understanding...**

  1. **BLUDWORTH**



**Chemicals in the vascular flush**

**create cadaveric spasm.**

Everyone tilled their heads at that wondering what that was

**As the startle of the situation settles, it dawns on Alex that they have been busted. He nervously offers an explanation.**

**ALEX**

**I'm... a friend of his. His best**

**friend. See, his father...**

  1. **BLUDWORTH**



**(ominous)**

**I know who you are.**

**The mortician eyes Alex, understanding. Alex senses this and eases. Clear moves toward Tod's body, examining the neck area.**

**CLEAR**

**They said he hung himself, but**

**there's no marks.**

  1. **BLUDWORTH**



**I crafted a reconstruction of the**

**Laryngeal prominence region with**

**Velvetone Surgical Wax and**

**Permaseal.**

**Clear moves in for a closer look, then calls Alex over to the body. After a beat of reluctance, Alex looks at Tod's neck.**

**ALEX**

**What are all those tiny marks?**

**ALEX'S POV - CLOSE - TOD'S NECK**

**The wounds have been filled with wax and covered by greasepaint. At this proximity, however, it is apparent tiny cuts line the area above and below the large cut made by the wire.**

  1. **BLUDWORTH (V.O.)**



**Cuticle lacerations.**

**WIDER**

**ALEX**

**Why would he pull at the wire if he**

**were committing suicide?**

“If you are committing suicide, then you would pull at what's killing you,” said Cynthia

**CLEAR**

**Why would they say it was a**

**suicide... if it weren't?**

**Because of the supernatural "message" he recieved, Alex is reluctant to answer. He eyes Mr. Bludworth, who, with a wry half smile, eyes Alex as if aware of the reason behind his hesitation.**

**ALEX**

**His father's pretty fucked up with**

**denial. Maybe he couldn't deal with**

**the thought of an other accident...**

**taking another son.**

  1. **BLUDWORTH**



**In Death...**

**CAMERA INCHES TOWARD the mortician. In this environment, lit with Fritz Lang shadows, Bludworth's tone, appearance... he could easily be mistaken for personification of the subject.**

  1. **BLUDWORTH**



**... there are no accidents. No**

**coincidencess. No mishaps.**

**(smiles)**

**And no... escapes.**

**“You can’t escape death.” Isabella said.**

**ALEX**

**You saying Tod did kill himself?**

**Bludworth moves to Tod on the draining table, disconnecting the tubes connecting the body to the embalming chemicals.**

  1. **BLUDWORTH**



**Suicide. Murder. Plane crash. What**

**does it matter? He was going to end**

**someday. From the minute you're cut**

**loose from the womb... it's a one**

**way ticket on a trip to the tomb.**

**Vile liquid oozes out of the body onto the porcelain table.**

  1. **BLUDWORTH**



**You may not realize it, but we're**

**all just a mouse that a cat has by**

**its tail. Every single move we**

**make, from the mundane to the**

**monumental... the red light we stop**

**at, or run; the people we have sex**

**with, or won't with us; the airplane**

**we ride, or walk out of... is all a**

**part of Death's sadistic design**

**leading to the grave.**

**ALEX**

**Design?**

Terry whimpers out “ Death has a design.”

**The mortician considers as he drains some yellowish green fluid from the table. He shrugs then continues his work...**

  1. **BLUDWORTH**



**If Life is like a box of**

**chocolates... Death... Death is like**

**a big Milton Bradley game of "Mouse**

**Trap." The day you're born is just**

**the boot, hanging from the**

**streetlamp, kicking the marble to**

**get things rolling. Growing up is**

**only the marble rolling down the**

**curving chute. You feel immortal**

**having survived school, sex, drugs**

**'n' rock 'n' roll, but you've really**

**only upset the big hand holding the**

**steel ball that falls into the**

**bathtub. Marriage and kids and**

**career seem to make it all worthwhile**

**until the ball hits the see-saw and**

**flips the diving man into the big**

**barrel. In the old folks home or the**

**hospital you just see the big cage**

**rattling down until it captures...**

**the mouse.**

**(beat)**

**Game over.**

Alex put it together “we cheated death. Which means they are killing us off one by one until we're all dead.”

**Alex considers as Clear eyes him, conveying "this guys's whacked!" Alex moves toward Bludworth...**

**ALEX**

**Maybe there's no way to win...**

**but... if you figured out the**

**game... you knew where the "steel**

**ball was rolling" couldn't you**

**avoid the trap and extend the**

**playing time? Couldn't you... cheat**

**Death at Its own game?**

**Mr. Bludworth looks directly at Alex. CAMERA MOVES IN ON EACH,**

**INDIVIDUALLY... this between the two of them.**

  1. **BLUDWORTH**



**You already did that by walking off**

**the plane. Now you gotta out when**

**and how it'll come back at you.**

**(beat)**

**Play your hunch, Alex. If you think**

**you can get away from it.**

**(beat)**

**But beware the risk of cheating the**

**plan, disrespecting the design...**

**could iniciate a horrifying fury that**

**would terrorize even the Grim Reaper.**

**(beat)**

**And you don't even want to fuck with**

**that Mack Daddie.**

**Alex's eyes are locked on Bludworth's chilling, pleasant smile. The mortician yanks on a tube, REVEALING a foot long needle removed from Tod's spinal column. The horrific nature of death is vividly demonstrated to Alex.**

**ALEX**

**I'm sorry we broke in.**

  1. **BLUDWORTH**



**No harm. No foul.**

**Alex grabs her arm, starting toward the door.**

**CLEAR**

**We didn't find what we were looking**

**for.**

**Alex looks at Bludworth...**

**ALEX**

**Yeah, we did.**

  1. **BLUDWORTH**



**CAMERA PUSHES INTO the mortician, pleased the message has been recieved.**

  1. **BLUDWORTH**



**I'll see you soon.**


	16. Terry's death

**Notes for the Chapter:**

> I dont own Final Destination

**EXT. MAIN STREET - DAY**

**BRAKING LOUDLY, startlingly, a public bus PULLS INTO CAMERA and stops. The doors HISS open.**

**CLEAR (O.S.)**

**The mortician was whacked.**

**CAMERA ADJUSTS as Alex and Clear step off the bus and onto the street.**

**CLEAR (CONT'D)**

**He was trippin' on formaldehyde.**

“The heck is that.” said Evan; “ it's an antiperspirant to treat feet that sweat or smell excessively. It is also used as a drying agent during wart treatment.” Eugene said.

**Clear starts up the street, but Alex grabs her arm and steps back, assuring the bus moves off... safely. He nods, "it's safe to go." Throughout the following, his eyes are searching for anything potentially deadly.**

**ALEX**

**He said Death has a design. Even**

**before he said that I had been**

**seeing patterns.**

**CLEAR**

**(sarcastic)**

**As in flannels and plaids?**

**Up ahead, scaffolds rise before a building being restored. O.S., HAMMERING and CONSTRUCTION WORK POUND from above. In the f.g., tools and metal spikes. After a "thumbs up" gesture, the rope is pulled UP AND OUT OF FRAME.**

**ALEX**

**How many died on Flight 180?**

**From our group?**

**CLEAR**

**Thirty-nine.**

**ALEX**

**Remember the gate number?**

**As Clear takes a moment to consider, Alex steers them well around the scaffolds, eyes skyward during the move...**

**CLEAR**

**No.**

**ALEX**

**Thirty-nine.**

Everyone shrivered

**This is a creepy fact. Even though past the construction, Alex checks over his shoulder to assure they are out of harm's way.**

**ALEX**

**Remember the departure time?**

**CLEAR**

**Like... 4:25.**

**Reaching an intersection, Alex pushes the pedestrian traffic light button, then steps well away from the curb.**

**PEDESTRIAN TRAFFIC SIGNAL**

**the halting red hand is lit.**

**ALEX (V.O.)**

**Do you know when I was born?**

**INTERSECTION**

**Clear sighs, growing impatient with Alex.**

**CLEAR**

**4:25.**

**ALEX**

**Right. April 25th.**

**CLEAR**

**Wait. I thought you meant the time**

**of your birth. Four/Twenty-five, as**

**in, month and day... that's a reach.**

**PEDESTRIAN TRAFFIC SIGNAL**

**the halting red hand turns to the little white walking man.**

**INTERSECTION**

**Clear takes a step off the sidewalk and onto the street. Alex tugs her back, looking both ways while outraged by her challenge.**

**ALEX**

**My birthday is the same as of the**

**time I was meant to die! That's a**

**reach!?**

**VROOM! A car indeed makes a right, TEARING through the intersection. Once past, Alex takes Clear by the arm and hustles them across the street.**

**CLEAR**

**You're sounding like those people**

**who, you know... "Oswald shot**

**Kennedy from a warehouse and hid in**

**a theatre and Booth shot Lincoln in**

**a theatre and hid in a warehouse."**

**CAMERA HOLDS REVEALING an unmarked sedan parked across and down from a Starbucks with outdoor seating. Schreck and Weine sit in the car, eyes coolly locked on Alex and Clear.**

**DOWN THE STREET - HEADING WEST**

**Billy Hitchcock rides toward the Starbucks on his bicycle.**

**EXT. STARBUCKS - DAY**

**sitting outside, Alex hunches over the table, increasingly anxious. Clear listens; expression skeptical.**

**ALEX**

**I'm not just layin' down a bunch**

**of math here, with this. I'm talking**

**about indications... omens... that**

**day, that we were meant to die. That,**

**if, we have been aware of... would**

**have saved everyone on the plane.**

**CLEAR**

**That's total bullshit. You can find**

**death omens anywhere you want to.**

**She picks up her paper coffee cup.**

**CLEAR (CONT'D)**

**Hey, look! "Coffee" starts with a**

**"C" and ends with an "E." So does**

**the word "choke!" We're going to**

**choke to death! Oh no! Starbuck was**

**a whaler. We're going to be**

**harpooned!**

**Alex angrily glares at Clear. Clear drops her tone.**

**CLEAR (CONT'D)**

**You'll go nuts if you start with**

**that shit.**

**Ms. Lewton appears from around the corner. She starts toward the entrance, but pauses, tensing when she sees Alex.**

**He cautiously flashes a greeting smile. The teacher, however, averts her eyes and continues into the coffee shop. Alex sighs, guiltily. Clear sympathizes with both of them.**

**CLEAR**

**She's leaving the school. Moving**

**away.**

**Alex studies, appealing to her...**

**ALEX**

**Clear, how do we know that by**

**just sitting here, breathing this**

**air or sipping the coffee, having**

**crossed the street... we haven't**

**started in motion the events that**

**will lead to our death? Fifty years**

**from now. Ten years. Tomorrow.**

**(beat)**

**You don't unless... you're able to**

**open yourself to the signs I'm**

**willing to show you.**

**He leans foward, removing a peice of paper from his pocket.**

**CLOSE - ALEX'S HAND**

**slides across the table. Opening his hand REVEALS the piece of paper reading, "... Tod..." Clear's hand ENTER'S FRAME to take the paper. CAMERA FOLLOWS AS SHE raises it, her expression obviously puzzled. As she eyes Alex for an explanation, CAMERA CRANES DOWN QUICKLY to the empty paper cups on the table...**

**... a slight approaching BREEZE knocks them over.**

**DOWN THE STREET - HEADING WEST**

**A somewhat cherry 70's muscle car speeds in the direction of the Starbucks. Carter Horton is driving. Terry Chaney rides shotgun. Carter looks out the window.**

**CARTER'S POV - MOVING - ALEX AND CLEAR**

**She holds the paper as Alex, apparently, explains the story.**

**CARTER'S CAR**

**CARTER scowls, his anger rising as he slows, staring at the perceived reasons for his problems.**

“Carter is becoming jealous.” teased Billy

**ALEX AND CLEAR**

**Her eyes turn from the paper to Alex, concerned about him...**

**CLEAR**

**I don't understand... did you see**

**Tod die? Did it happen again, like on the plane?**

**ALEX**

**No, but it might as well be the**

**same thing. This was a message...**

**from someone, or something...**

**hinting... at the design.**

**CLEAR**

**Alex, on the plane... you must have**

**experienced... some kind of hyper**

**awareness. But here... you're**

**suggesting Tod's death... and maybe**

**our own... will happen because of...**

**an active Presence.**

**Alex nods, feeling she's understanding.**

**ALEX**

**The mortician said Death has a**

**design. Now... if you, me, Tod,**

**Carter, Terry, Billy, Ms. Lewton**

**messed up that design, because, for**

**whatever reason, I was able to see**

**Death's plan... then we cheated it.**

**(beat)**

**But what if it was our time, what if**

**we were not meant to get off that**

**plane? What if it is still is our**

**time? If... It... is still not**

**finished with us? We will all still**

**die; now, not later.**

“We're going to die since you saved us from the airplane?” asked Terry; “I guess so.” respond Alex

**Troubled and deeply concerned, Clear studies Alex.**

**ALEX (CONT'D)**

**Unless... we find the pattern. And**

**cheat it again.**

**Clear sets the paper down, looking sadly at Alex.**

**CLEAR**

**After hearing you, just now... I do**

**believe...**

**Alex leans back and sighs, relieved...**

**CLEAR (CONT'D)**

**...that Tod killed himself.**

**Alex is taken aback, hurt and angry.**

**ALEX**

**Then there's no one left who can help**

**me.**

**CARTER'S CAR**

**His eyes having never left Alex, Carter suddenly cranks the wheel hard to the left to make a tight U-Turn.**

**BILLY HITCHCOCK**

**rides his bike. He reacts, startled by...**

**BILLY HITCHCOCK'S POV - CARTER'S CAR**

**barreling down towards him. The car cuts in front of the bicycle to complete the U-Turn.**

**WIDER**

**Billy SWERVES to the left, directly in front of an oncoming car. The car SWERVES right, as does Billy, avoiding a certain fatal collision for the cyclist. The oncoming car HONKS!**

**Carter's car pulls up to the curb. Oblivious to the accident he almost caused, Carter gets out, strutting toward the tables outside the coffee shop. Inside the car, Terry sighs...**

**TERRY**

**Baby, come on... not now.**

**But her boyfriend continues. She gets out and hustles after him.**

**ALEX AND CLEAR**

**Their attention drawn by the commotion, Clear and Alex watch Carter Horton approach them, followed by Terry, who stops, irked, near the curb at the crosswalk.**

**TERRY**

**Carter...**

**At that moment, Ms. Lewton exits with an ezpresso drink. Sensing trouble, she has no energy or desire to involve herself.**

**CARTER**

**Kind of have a reunion, here.**

**TERRY**

**Let it go!**

**Carter steps before Ms. Lewton, blocking her exit...**

**CARTER**

**When are you moving?**

  1. **LEWTON**



**A couple of weeks.**

**She can't wait to leave. While trying to walk around Carter...**

**CARTER**

**We're losing our favorite teacher.**

**ALEX**

**Look, there's something you should**

**all know.**

**CLEAR**

**Alex...**

**Carter eyes Alex, continuing the taunt. He raises the volume of his words to drown out Alex's words and incite conflict.**

**CARTER (CONT'D) ALEX (CONT'D)**

**Lived here her whole life. This'll be hard to believe.**

**Ms. Lewton's eyes flash to Alex, afraid of him.**

**CARTER (CONT'D) ALEX (CONT'D)**

**And now she has to move. Listen to me, we may all**

**All because of Browning. be in danger...**

**TERRY**

**Shut up! The both of you!**

**The two boys stop their heated exchange.**

**TERRY (CONT'D)**

**They died! We lived!**

**(beat)**

**Get over it! I won't let that plane**

**crash be the most important thing in**

**my life. I'm moving on, Carter, and**

**if you're gonna waste your life**

**beating the shit out of Alex**

**everytime you see him, then you can**

**just drop fucking dead!**

**Head and shoulders remaining angrily in Carter's direction, Terry takes a blind step off the curb and into the crosswalk, WITHOUT A CUT... a bus suddenly speeds INTO FRAME and, THUD! plows directly right into her...**

Everyone jumped at the suddenness of her death, Terry (who is sitting next to Clear) Goes into panic attack

**ALEX, CLEAR, CARTER AND MS. LEWTON**

**are SPLATTERED with BLOOD before they can even recoil.**

Alex grabbed a trash can and threw up into it. And once he was done throwing up, Terry rushed down and grabbed the trash can. Ran back up to her and threw up into it.

**Notes for the Chapter:**

> Hey! guys check out my tumblr account: datsavageavenger


	17. Ms. Lewton's death

**Notes for the Chapter:**

> I don't own anything.

**CUT TO:**

**INT. BROWNING LIVING ROOM - NIGHT - CLOSE - ALKA SELTZER**

**FIZZLES in the glass, while O.S., a PHONE RINGS...**

**ALEX**

**has crashed, watching CNN. It's a tense recline. Red circles rim the lids of his eyes. He sips from the glass to settle his stomach. Ken appears from the kitchen, hand over the reciever.**

**KEN**

**It's that girl... Clear.**

**No response from Alex. Ken sighs, then into the phone...**

**KEN**

**He's in the shower, Clear. Can I**

**have him get back at ya? Sure...**

**bye.**

“DON’T FORGET TO SHAVE YOUR LEGS, ALEX!” shouted out Tod; Alex looks down embarrassed but Nick leans over to him whispering “I sometimes wear female underwear.” after Nick told him that Alex felt much better, until Issac Palmer yelled out ( while drooling) “SHOW US HIS BODY IN THE SHOWER!” Everyone turned around and glared at Isaac for saying that. Carter starts to growl at him for saying that.

**Ken returns to the living room, concerned about his son. Alex averts his eyes, stressed and ashamed. Ken sits nearby.**

**KEN (CONT'D)**

**She's concerned about you.**

**(beat)**

**I'm concerned about you.**

**Alex turns his eyes to the glass.**

**KEN (CONT'D)**

**Why don't you want to talk to her...**

**or me?**

**ALEX**

**Dad... you and mom have helped me**

**out, so much. But there's... some**

**things I need to understand before**

**I can talk... to anyone about it.**

**The father respects this young man's wishes. Ken nods "fair enough." In the silent moment, O.S., from the television...**

**CNN ANCHOR (O.S.)**

**The National Transportation Safety**

**Board has a new theory tonight on the**

**possible cause of Euro-Air Flight 180...**

**Alex quickly grabs the remote and turns up the VOLUME...**

**TELIVISION**

**A computer graphic illustrations the area of the lower fuselage.**

**CNN ANCHOR (CONT'D, V.O.)**

**Deterioration of silicon insulation**

**on an electrical connector to the**

**scavenger pump may have leaked**

**combustible fluids.**

**ALEX AND KEN**

**Alex remains riveted to the screen.**

**CNN ANCHOR (CONT'D, V.O.)**

**A spark in the fuel switch...**

**TELEVISION**

**The graphic ZOOMS into the area in the rear right side, nearly above Tod's seat.**

**ALEX (O.S.)**

**That's Tod's seat...**

**ALEX**

**CAMERA PUSHES IN as he listens...**

**CNN ANCHOR (CONT'D, V.O.)**

**... may have ignited the fuel line. And**

**proceeded to the fuel pump.**

**TELEVISION**

**The high-tech computer image traces the path of the explosion through the plane. A red line representing the fuel line zigs through the body of the plane, making a sharp turn forward to the fuel pump, which explodes. Jagged lines show the direction of the explosion moving backwards toward the rear of the plane.**

**MATCH CUT TO:**

**INT. ALEX'S BEDROOM - DAY - 747 SCHEMATIC**

**drawn in Alex's hand, and hundreds of steps down from CNN computer image, yet accurate as Alex's finger traces the path, away from the seats marked "ME" and "CLEAR." The path starts over "TOD," then moves to "TERRY." The line moves forward away from "CARTER" toward the fuel pump.**

Everyone stares at Alex, “ you figured out death’s plan.” whispers Dennis

**The corresponding jagged picture of the explosion back is reminiscent of the "hand of Death," seen earlier in the lightning. It is a graphic demonsration of the arbitrary nature of Death.**

**ALEX**

**is amped, intensely more frightened as he believes...**

**ALEX**

**The path of the explosion...**

**(a whisper)**

**That's Death's design.**

**It instantly, frightfully, occurs to him, he now knows who will be next...**

**CLOSE - SCHEMATIC**

**Alex's finger quickly moves along the fuel line. After "TERRY," the seat intersecting the path of the fule line, over the fuel pump, is marked "MS. LEWTON."**

"He's killing them in the order they were supposed to die." Mutters Nick and Clear

**CUT TO:**

**INT. VALERIE LEWTON'S HOUSE - NIGHT - VALERIE LEWTON**

**ENTER'S FRAME, on the phone, wearing a t-shirt and sweats.**

  1. **LEWTON (O.S.)**



**Some nights I'm woken up by the**

**sound of my own voice, you know,**

**inside my head, goin', "No, you know**

**the whole French thing. Get on the**

**plane."**

**Moving boxes are stacked in the living room; organized disarray of**

**relocating. The house is old, been in the family forever. Dust marks the walls where framed photos and artwork were once displayed.**

“I'm so sorry.” whimpers out Alex. Val Looks at him and mutters “It's ok”

  1. **LEWTON (CONT'D)**



**Everything here reminds me... of**

**sending Mr. Murnau back on the**

**plane... Right, I'm hoping a change**

**will help... I lived here my whole**

**life and wherever I looked were great**

**memories, you know... but now all I**

**can see is Mr. Murnau... those kids.**

**Just looking out my own front yard...**

**makes me feel mothing but fear.**

**She peeks out of the front curtains and looks sadly upon her front yard. Her expression alters... alarmed...**

**EXT. LEWTON'S HOUSE - NIGHT - MS. LEWTON'S POV - FRONT YARD**

**The figure is Alex Browning.**

“My god Alex! Your standing there like your going to murder her.” Said Terry

**INT. MS. LEWTON'S HOUSE - NIGHT**

**Ms. Lewton steps away from the curtains.**

  1. **LEWTON**



**(quickly)**

**Laura, I gotta call you back.**

**She immediately hangs up and speed dials.**

  1. **LEWTON (CONT'D)**



**This is Valerie Lewton. I need Agent**

**Schreck...**

**TIME CUT:**

**EXT. LEWTON'S HOUSE - NIGHT**

**Alex has moved closer to her house, remaining in the shadows. He checks for any passers-by. Being sure there are none, he creeps toward Ms. Lewton's car. He visually inspects the exterior. As he kicks the tires... an unmarked sedan SCREECHES up. Doors open...**

Carter facepalms

**Startled, Alex turns to find...**

**Special agents Schreck and Weine standing in the street, backlit in the strong headlights of their car.**

**SCHRECK**

**What are you doing?**

**ALEX**

**is nervous but determined. He tells the truth…**

**ALEX**

**Checking the air in her tires to**

**make sure they're safe.**

“That's the truth Alex,” said Agent Schreck; “Once we're outta here you're going into custody, for a number of crimes….” HOLD ON A SECOND.” yells Agent Jim; “If we're here just for one movie then yes you can take him. But were not, Tori mentioned that there are five movies. By the end of it, we can figure it out.” Alex looks at Agent Jim and thanks him quietly

**SPECIAL AGENTS SCHRECK AND WEINE**

**after a beat of incredulity...**

**SCHRECK**

**Get in the car.**

**INT. MS. LEWTON'S HOUSE - NIGHT - VALERIE LEWTON**

**is watching, peeking out her front curtains. O.S., CAR DOORS CLOSE. The vehicle ROARS OFF. She releases the curtains and moves back, feeling somewhat better, but still rattled.**

**Then...**

**The curtains billow as if blown by a breeze. Ms. Lewton appears puzzled as she moves the curtains aside to find the windows closed. As CAMERA PUSHES IN ON HER, tensing and uneasy...**

**CUT TO:**

**INT. INTERROGATION ROOM - POLICE STATION - NIGHT**

**Alex sits behind a table in the cinderblock room painted police station green. Sitting across from him, with a good cop tone, is Agent Weine, while Schreck stands with a hard-ass posture.**

**ALEX**

**I believe that... Ms. Lewton's next.**

**WEINE**

**"Next?"**

**ALEX**

**Yes... see, there's this...**

**pattern... that's occuring.**

**WEINE**

**(sarcastic)**

**Oh, you've noticed it, too?**

**CUT TO:**

**INT. MS. LEWTON'S HOUSE - NIGHT**

**Ms. Lewton moves to a closet door, opens it and CLICKS on an overhead light.**

**Kneeling down, she tugs on a heavy box and opens it to check the contents. Her expression warms, as if recalling a far off memory.**

  1. **LEWTON**



**Oh... mom's favorite.**

**She slides a vinyl record album out of the sleeve and moves to the turntable on a shelf, thick with dust.**

**Valerie places the record on the stereo and sets the needle on the album. CAMERA SWEEPS IN CLOSE TO THE TURNTABLE, although spinning around and around... the bold letters of the center label can be read... JOHN DENVER... the opening acoustic guitar of "Rocky Mountain High" has never sounded so eerie...**

**JOHN DENVER (V.O.)**

**He was born in the summer of his**

**twenty-seventh year...**

**Pleased with the feeling of a pleasant memory, Lewton moves off.**

**INT. INTERROGATION ROOM - POLICE STATION - NIGHT**

**Schreck moves closer to Alex.**

**SCHRECK**

**Where'd you get this "pattern" from?**

**You have another "vision?" Maybe saw**

**it in some T.V. static?**

**Alex is insulted by the condescending tone.**

**ALEX**

**I didn't ask for what happened to me**

**on the plane. You can make fun of me.**

**You can think I'm a nut. I'm used to**

  1. **I saved six lives but the entire**



**school acts like I'm a freak. Fine.**

Everyone looks at Alex with sadness. “Alex…” Nadia said

**Alex takes a nervous breath...**

**ALEX**

**I'm not suffering from Post Traumatic**

**Stress. I haven't developed a**

**narcissistic deity complex. I'm not**

**going Dahmer.**

**(beat)**

**This just is. There's a pattern in**

**place for you. And you. There's a**

**design for everyone.**

"How old are you kid?" Asked Andy; "I'm 17." replied Alex. Everyone realizes how the movie is going to affect his life.

**The agents study Alex...**

**ALEX**

**(sighs)**

**And I'm not sure yet how... but I**

**intend to break this one.**

**CUT TO:**

**INT. MS. LEWTON'S KITCHEN - NIGHT - SET OF CUTLERY KNIVES**

**held in a wooden block, sits atop the kitchen counter.**

**In the b.g., Valerie removes the chrome teapot from the stove and moves it to the sink. JOHN DENVER CONTINUES in the next room. Ms. Lewton turns on the faucet, pours water into the kettle. Some water spills on the side of the kettle. As she wipes the pot with a blue checked hand towel, a dark shadow appears to cross behind her.**

**Lewton turns. CAMERA FOLLOWS, CIRCLING as she looks about the room only to find she is alone. Unsetteled, she absently tosses the towel on the counter the edge which, catches a knife blade held in the cutery block.**

**STOVE**

**Ms. Lewton turns on the gas, adjusts it, however... the flames blow out. She pauses, nerves on edge. Her eyes cautiously move about the room and find nothing. She grabs a pack of nearby matches and strikes one.**

**JOHN DENVER (V.O.)**

**He left yesterday behind him/**

**You might say he's born again...**

**CAMERA PUSHES INTO the burner as the flames re-ignite and FILL THE FRAME...**

**CUT TO:**

**INT. INTERROGATION ROOM - POLICE STATION - NIGHT**

**Weine sits across from Alex, symapthetic, but professional...**

**WEINE**

**Alex, you got our attention, at**

**first, because you were under**

**suspicion in the plane explosion.**

**Alex tenses, but Weine shakes his head.**

**WEINE (CONT'D)**

**I know you didn't blow up that plane.**

**Alex sighs, eases.**

**WEINE (CONT'D)**

**I don't believe you have magical**

**powers. No one has any... control**

**over life and death... unless...**

**that person is taking lives and**

**causing death.**

**Weine leans forward toward Alex...**

**WEINE (CONT'D)**

**Alex... can you promise me that**

**no one else will die?**

**ALEX**

**No... I can't. As long as I'm in**

**here, it's outta my control.**

**The agents are taken aback by his answer; unnerved by his sincerity. Weine sighs and looks to his partner, who sighs, frustrated and turns away.**

**WEINE**

**Alright, go on. Get outta here.**

**Alex stands and, with no urgency, moves off. He exits the room.**

**SCHRECK**

**Kid gives me the creeps.**

**WEINE**

**We got nothing to hold him.**

**SCHRECK**

**I don't mean that...**

**(beat)**

**There's a couple of times, there...**

**I almost believed him.**

**Weine considers, yet remains skeptical.**

**WEINE**

**Sometimes, you give me the creeps.**

**CUT TO:**

**INT. MS. LEWTON'S HOUSE - NIGHT - CLOSE - TEAPOT**

**Whistles.**

**JOHN DENVER (V.O.)**

**When he first came to the mountains,**

**his life was far away...**

**COFFEE MUG - OVERHEAD**

**two tea bags are dropped inside, then the steaming hot water.**

  1. **LEWTON**



**picks up the cup, raising it toward her lips. She pauses, her expression turning tragic.**

**On a reflex, she spins toward the sink and throws the hot contents into the drain. She sits the mug down...**

**A COFFEE MUG**

**ENTERS FRAME... displaying the logo of the Mt. Abraham Fighting Colonials.**

Eugene gets a sense of deja vu.

  1. **LEWTON**



**Trembling. She takes a deep breath, getting a hold of herself.**

  1. **LEWTON**



**You gotta stop this! Stop this! It's**

**just a stupid mug.**

**(composed)**

**You're outta here. Pretty soon...**

**you'll be gone.**

**Opening the refrigerator frezzer, she grabs some ice and a bottle of pure Polish Vodka then deliberately turns back toward the same mug...**

**COFFEE MUG**

**the ice cubes PLUNK. The cold alchohol pours into the hot mug. CAMERA PUSHES INTO THE MUG as... it slightly CRACKS, Vodka dripping out of the base.**

“Thermodynamics.” mutter Ashlyn

**Lewton's hand picks up the mug, oblivious to the crack. She moves off toward the living room, leaving a trail of alcohol.**

**CUT TO:**

**EXT. POLICE STATION - NIGHT**

**Alex exits the police station, walking. He checks over his shoulder to see if he is being watched and increases his pace, legs whipping across FRAME...**

**CUT TO:**

**INT. MS. LEWTON'S HOUSE - NIGHT**

  
  


**Valerie Lewton tears off a piece of plastic bubble wrap. She stands over her desk, placed against the wall. On the desk is her desktop computer monitor.**

**JOHN DENVER (V.O.)**

**It's the Colorado Rocky Mountain**

**High...**

**She pauses to swig from her cup of vodka.**

**EXTREMELY CLOSE - COFFEE MUG**

**alcohol drips from her mug...**

**EXTREMELY CLOSE - COMPUTER MONITOR VENT**

**... fluid drips inside the circuitry.**

“Oh no,” said Peter

  1. **LEWTON**



**sets the mug out of the way on the back edge of her desk.**

**CLOSE - COFFEE MUG**

**The remaining vodka oozes from the crack, pools, then drips off the edge of the desk...**

**JOHN DENVER**

**I've seen it rainin' fire from the**

**sky...**

**CAMERA CRANES DOWN to REVEAL the moniter cabel inserted into an electrical wall socket. The vodka drip... drip... drips PAST FRAME. Then, Lewton's hand ENTERS and pulls the monitor plug, creating tiny SPARKS at the connection...**

**ON THE FLOOR**

**the alcohol ignites...**

  1. **LEWTON**



**her back is to the desk, while pouring styrofoam peanuts into the box. In the b.g., FLAMES, nearly supernaturally, leap up the walland toward the computer monitor.**

**CLOSE - COMPUTER MONITOR - THROUGH THE VENTS**

**the interior catches fire, causing an electrical POP!**

  1. **LEWTON**



**turns, holding her sheet of bubble wrap, shocked by the flames.**

**THE COMPUTER MONITOR**

**On the screen, the reflection of the approaching shadow passes before the monitor... EXPLODES!**

  1. **LEWTON**



**a large jagged shard from the monitor flies into her throat. Blood squirts from her neck onto the bubble wrap. Her stunned expression is sickeningly numb from shock.**

Val chokes on her coffee she was drinking.

**JOHN DENVER (V.O.)**

Rocky Mountain High/ Colorad-oh.

**She reaches up to reflexively pull the glass from her throat, creating a flood of spurting blood.**

“WHY WOULD YOU DO THAT!” Rory Carson yelled at Val; “DIDN’T YOU LEARN NOT TO TAKE OUT OBJECTS THE YOU WERE STABBED WITH.”

**She drops the glass and quickly stumbles toward the kitchen, blindly banging the turntable as she passes. The needle skips, BUMPS... and settles... umercifully at the start of "Rocky Mountain High."**

**CUT TO:**

**EXT. NEIGHBORHOOD STREET - NIGHT**

**Alex walks quickly up the street. Smoke wafts before him. He turns to see a man burning leaves in the backyard.**

**The breeze intensifies, lifting the burning debris. The smoke swirls around him. CAMERA PUSHES INTO ALEX as he senses the Presence. He looks ahead.**

**ALEX'S POV - TWO DOZEN LEAVES**

**mystically float past him, each on fire.**

**ALEX**

**senses the taunting message and breaks into a full sprint, passing through many of the burning leaves that break up into the bright orange cinders against the black sky.**

**CUT TO:**

**INT. LIVING ROOM - LEWTON'S HOUSE - NIGHT - THE FLAMES**

**reach the coffee mug, igniting the trickling stream leading to, and away from, the crack in the cup.**

**FLOOR**

**Flames ride the small trickle of vodka back toward the kitchen...**

**INT. KITCHEN - LEWTON'S HOUSE - NIGHT**

**Valerie Lewton races in, desperately pressing her hand to her throat as she GURGLES and CHOKES on the blood from the wound. She leans over the now red sink. She turns pale from the blood loss.**

**THE STOVE**

**the flaming stream shoots up the stove, lighting the burners.**

  1. **LEWTON**



**behind her, the stove ERUPTS in FLAMES. They jump, leap like a tiger, landing on her shoulders and hair, which catch on fire...**

**CUT TO:**

**EXT. LEWTON'S HOUSE - NIGHT**

**Alex approaches the front of the house. From here, nothing appears to be wrong. As he catches his breath, sweating, visually examining the house.**

**From INSIDE, a hoarse, macabre SCREAM! CAMERA PUSHES IN ON ALEX, stunned, before he races off toward the house.**

“You can do it Alex!” yelled his classmates

**INT. LEWTON'S HOUSE - NIGHT - MS. LEWTON**

**DROPS INTO FRAME ON HER KITCHEN FLOOR, hair and sweatshirt aflame. She desperately rolls on the floor and manages to extinguish the flames.**

**On her back, on the floor, she is badly burned. Her open neck wound continues to bleed. Blood pools on the floor. In shock and moving on pure survial instincts, she reaches up...**

**LEWTON'S POV - (LOOKING UP) - THE HAND TOWEL**

**the lower third of the towel dangles over the edge of the counter top. Her hand grabs it, and pulls.**

**COUNTER TOP**

**the draped edge of the towel pulls over the cutlery block. The knives spill out, entangled with the hand towel.**

**ALEX (O.S.)**

**Ms. Lewton!**

**KITCHEN DOORWAY**

**Alex rushes across the threshold as Ms. Lewton pulls the knives over the counter.**

  1. **LEWTON**



**a half dozen knives, from small, but sharp, cutting blades to large butcher knives, cascade into her body.**

**JOHN DENVER (V.O.)**

**They say that he got crazy once and**

**he tried to touch the sun...**

“I'm never going to listen to John Denver again,” Whimpers out Billy

**Her hand trembling, her expression horrified, Lewton grabs the handle of the largest blade, trying to pull it out. Alex quickly kneels next to her. She looks at him, in shock, her eyes pleading. Alex gathers his courage, places his hand on the handle of the largest blade. As he's about to remove it…**

Billy, Tod, George, Carter, Terry, and Clear cheered him on.

**THE STOVE**

**a gas line ERUPTS, creating a small EXPLOSION.**

**THE COUNTER TOP**

**the cutlery block is knocked off of the counter...**

  1. **LEWTON**



**the block lands directly on the butcher knife handle, driving the blade further into Ms. Lewton's body.**

**Ms. Lewton Lets out a scream.**

**LEWTON'S POV - THE SHADOW**

**descends, the FRAME COLLAPSING until her face, eerily peaceful, but lifeless gray, horrifically decays... flesh rotting, worms feeding on muscle until only a skull remains.**

  1. **LEWTON**



**as Death arrives, her eyes are macabrely focused above her.**

**ALEX**

**Even as blood squirts on him from her open wound, he appears to realize she is "seeing" the moment of death.**

**ALEX**

**Ms. Lewton!**

**Flames leap from the stove to the curtains, which catch fire.**

**Alex grabs the knife and pulls it out. He quickly removes another and another... yet there is no reaction from the woman.**

“Dude, your fingerprints are on the knife, you're going to get blamed for her death,” George said

**Knowing she is dead, Alex pauses with guilt. He looks at the knife in his hand, then realizes how incriminating this could appear. In that moment, another small EXPLOSION from the stove brings Alex quickly to his feet. He drops the knife to the floor and races from the house. CAMERA TILTS DOWN to the shoe prints left in the pool of blood.**


	18. Car Goes Vroom and Billy's death

**Notes for the Chapter:**

> I don't own final destination

**CUT TO:**

**EXT. LEWTON'S STREET - NIGHT**

**Alex runs with all his strength away from Valerie Lewton's home. Billy Hitchcock is riding his bicycle in Alex's direction. He stops and gets off his bike.**

**BILLY**

**Hey, Alex...**

**Alex appears unaware as he simply runs past Billy, who curiously turns his head to watch Alex race up the street. O.S., the CRACKLING OF FIRE. CAMERA MOVES INTO Billy as he turns back, reacting with shock to Ms. Lewton's house.**

**THE HOUSE**

**from inside, an intense EXPLOSION propels glass from the windows. Flames engulf the entire house.**

**ALEX**

**even down the street, he is knocked to his feet by the blast. In the distance, SIRENS from approaching POLICE AND FIRE trucks are HEARD. He stands, looks to the now suspicious Billy... then opts to run off away from the scene. Escaping into the dark backyards of the neighborhood.**

**CUT TO:**

**INT./EXT. GARAGE - CLEAR RIVERS' HOUSE - DAY - CLEAR RIVERS**

**Tense, her eyes look left, then right...**

**CLEAR**

**I don't know where he is. He's not**

**talking to me.**

**WIDER**

**Agents Schreck and Weine stand before Clear in her garage.**

**WEINE**

**Why?**

**She studies the men before averting her eyes.**

**CLEAR**

**Because I didn't believe him.**

“LIAR!” Agent Schreck yelled at Clear

**The agents study her. Weine accepts the explanation. Schreck's eyes take a walk around the artwork in the garage, pausing on a piece of twisted metal from the crash. Clear tenses, however...**

**SCHRECK**

**If he should contact you, it**

**would be in the best interest**

**of your own safety to contact us.**

**Schreck hands his card. She takes it and nods. Schreck pauses, once again eyeing the painting before moving out of the garage on their way to their car.**

**CAMERA PUSHES IN ON CLEAR as she looks at the business card.**

**CUT TO:**

**EXT. MT. ABRAHAM HIGH SCHOOL - NIGHT**

**CAMERA PUSHES IN ON Flight 180 Memorial, lit for dramatic effect at night, but only achieving an eeriness. Carter Horton and Billy Hitchcock ENTER FRAME, moving toward the monument. Billy is riding his bicycle, wearing a New York Rangers jersey with "Hitchcock" across the back of the shoulders. Nearing the shadows, the two boys stop looking at the monument.**

**Carter pulls put a heavy pocket knife and starts attempting to cut into the stone.**

**Clear Rivers appears from the shadows.**

**CLEAR**

**What are you doing?**

**CARTER**

**Terry's name should be on this wall.**

**Clear is touched by the action.**

**CARTER (CONT'D)**

**So, why'd you want us to meet you**

**here? Now?**

**CLEAR**

**They're watching me, see if I go to**

**Alex.**

**BILLY**

**Are you?**

**CLEAR**

**They'll follow my car.**

**(beat)**

**That's why you're taking me.**

**CARTER**

**Why would I want to see him?**

**Clear eyes the two of them. With the memorial standing behind them...**

**CLEAR**

**Because he knows which one of us**

**is next.**

**As Carter and Billy feel the chill of their inner fears...**

**CUT TO:**

**EXT. HIGHWAY - NIGHT**

**The muscle car ROARS onto U.S. 17 on ramp. A sign near the road indicates:**

**"Middletown - 25 mi. New York City - 105 mi."**

**INT. CARTER'S CAR - NIGHT**

**Carter checks the rearview mirror. Clear looks out the front passenger window. She shakes her head, as if "no one's following us." Billy leans forward from the backseat...**

**BILLY**

**Um... okay... drive the speed limit,**

**right?**

**He sits back, OUT OF FRAME, but quickly darts forward.**

**BILLY (CONT'D)**

**And don't pass on the right.**

**CARTER**

**Billy! I'm gettin' a vision!**

**You're the next one...**

**BILLY**

**(nervous)**

**Hey, man, why'd you say that?!**

**CARTER**

**'Cause if you say another word,**

**I'm gonna fuckn' kill ya!**

**Billy sits back, gesturing, "hear ya. Got it." Clear pays no attention to their exchange as she stare out into the darkness, her thoughts a million miles away.**

**EXT. SEASHORE - JONES BEACH SATE PARK - NIGHT**

**A posted sign indicates "ACCIDENT SITE. ANY DEBRIS FOUND SHOULD BE REPORTED TO THE NTSB (212)555-NTSB." CAMERA FINDS Carter's car pulling up to a stop. Clear opens the passenger door and pauses in the car a while...**

**CLEAR**

**He could be anywhere from here to a**

**mile down the shore. You guys drive**

**down there, start this way and we'll**

**meet around the middle. It'll take**

**half the time.**

**Clear closes the door. Carter and Billy drive off. As she looks to the beach.**

**CUT TO:**

**EXT. BEACH - NIGHT**

**CAMERA, FACING the ocean, moves along the shore revealing a lone image sitting on the beach, looking into the Atlantic.**

**The waves are small bur rhythmic, an enternal metronome. Numb, Alex Browning sits in the sand searching for an answer somewhere in the darkness of the evening sea.**

**Behind him, O.S., approaching in the sand, SOFT FOOTSTEPS. He listens, notes them. Yet rather than turn around... he looks up into the sky.**

**ALEX'S POV - THE SKY**

**The shoreline lights cast an orange haze on the stars, breaking through, infinitely above.**

**ALEX (O.S.)**

**Are they up there?**

**WIDER**

**Clear Rivers approaches, barefoot in the sand. He neddn't turn to know who is behind him.**

“Clear, I swear to god if you kiss him I'll Punch ya.” Carter to Clear; “ Do it. I dare ya.” replied Clear. They stare at each other till they break down in laughter

**ALEX (CONT'D)**

**Somehow... is 180 still in flight?**

**Somewhere... are they still safe?**

**Clear hasn't met eyes with Alex, but she sits nearby, looking into the sky.**

**CLEAR**

**When I was a kid, like, six or**

**seven... I used to worry so much**

**about my parents dying. Like lying**

**awake at night... just worrying. I**

**loved them so much. I didn't want**

**them to get hurt. And what would**

**happen to me? What would life be**

**like?**

**(beat)**

**Every night... it seemed.**

**She looks out at the stars. He doesn't eye her, either...**

**ALEX**

**Most kids do, I guess.**

**CLEAR**

**Most kids never have it happen.**

**Alex hangs his head...**

**CLEAR**

**When I was ten... my dad went into a**

**7-11 for cigerettes. I guess he heard**

**somebody say "Don't turn around." So**

**on reflex, or thinkin' a friend was**

**jokin'... he did. And the guy blew**

**his head off.**

**She has lived this so many times, she is long beyond crying...**

**CLEAR (CONT'D)**

**And, let me tell ya, I had every**

**reason to worry before... because**

**life became shit. I don't blame her,**

**I guess, but my mom couldn't deal**

**with it at all. She married this**

**asshole, who my mom with my real**

**dad would cross the street to avoid**

**this guy. He really didn't want a**

**kid. And so my mom didn't either**

**anymore, I guess.**

**(beat)**

**If that was the design for my**

**father... and my family... then fuck**

**Death, FUCK IT!**

**The waves continue to shore. Clear looks up at the sky.**

**CLEAR (CONT'D)**

**And so, anyway... I've thought of**

**that "somewhere," Alex. It exists,**

**that place.**

**He looks at her.**

**CLEAR (CONT'D)**

**Where my dad is still safe. Where he**

**had a full pack of cigerettes and**

**kept driving. A place where me and**

**my dad and my mom... are still**

**together....and have no idea about**

**this second life, here.**

**(beat)**

**A place where our friends are still**

**in the sky... where everyone gets a**

**second chance.**

**She looks at him...**

**CLEAR (CONT'D)**

**But that place might only exist in**

**my heart. And maybe, now... yours. I**

**haven't experienced too many second**

**chances in my life. I haven't seen**

**any. But because of all of this, I**

**believe... because of you... I will**

**get a second chance. Because of me,**

**you will. With you in my life... that**

**place, right now existing in our**

**hearts, will spring out... and become**

**a real part of this life.**

**Alex looks within her, as a soft ocean breeze blows through Clear's hair.**

**CLEAR**

**And that is the only way we can beat**

**Death... by making something special**

**out of Life.**

**His eyes well with tears. Only as she looks at Alex does Clear become emotional... they move closer, and kiss, the desire for each other, to defy the events around them; darkness; the isolation...**

**They dive into a deep feverish kiss. Embracing, as if the tighter, the safer. She pulls him back down to the beach and lifts his shirt over his head.**

  
  


**ALEX**

**This won't be safe.**

**Clear looks down the beach, checking for any sight of Billy and Carter.**

**CLEAR**

**Those guys are probably fifteen**

**minutes away.**

**ALEX**

**No.. I mean, I don't have anything**

**on me. This won't be safe.**

**CLEAR**

**(sadly)**

**Nothing is... anymore.**

**Alex looks to Clear, then kisses her with passion that reflects the defiance of death. He pulls open her shirt and falls into her arms. CAMERA CRANES UP as the young man and woman make love in the sand... consciously and defiantly oblivious, to anything around them... including the stars, possibly Flight 180, up above.**

  
  
"HE ANIT A VIRIGN." Yelled Carter.

**CUT TO:**

**INT. CARTER'S CAR - NIGHT**

**Carter drives. Billy rides shotgun. Alex and Clear are in the back. Everyone anxious, looking for cops.**

**ALEX**

**I can't go home. After Lewton's,**

**they'll be after me.**

**CLEAR**

**We're takin' you to a cabin in the**

**woods, it's only a couple miles from**

**my house.**

**(to Carter)**

**Keep off the highways, they'll be**

**lookin' for us.**

**Carter, however, continually glances into the rearview mirror, checking Alex. Finally, hotheaded and unable to withhold it any further...**

**CARTER**

**Alright, Browning, you fuckin'**

**warlock... did you know about Ms.**

**Lewton, or what?**

**ALEX**

**Why do you think I was hiding?**

**CLEAR**

**Billy told the F.B.I. he saw you**

**runnin' away from her house.**

**ALEX**

**They blame me for everything. Her,**

**Tod, the plane crash...**

**BILLY**

**Your shoe prints were in the blood.**

**Your fingerprints on the knives...**

**ALEX**

**I already told you...**

**CARTER**

**(interrupting)**

**I'm not talkin' about if you did it.**

**Or if you knew she was dead...**

**(beat)**

**Did you know she was going to be**

**next... before she was?**

**Alex looks at Clear, her expression asking the same question...**

**ALEX**

**(quietly)**

**Yeah.**

**(almost to himself)**

**When she died... at that moment, I**

**could tell she saw something... horrible.**

**The three others turn quiet, considering what it must be...**

**CARTER**

**Out of us... who's next to see it?**

**Alex eyes them... hesitant to respond.**

**BILLY**

**Please tell me I'm gonna get to see**

**the Jets win the Super Bowl.**

**CARTER**

**Me, right? That's why you're not**

**saying.**

**Billy looks out the window, despondent.**

**BILLY**

**Shoulda felt up Tammy in the pool,**

**that time...**

**CARTER**

**(to Billy)**

**Whatta you whinin' about? He said I'm**

**next.**

**CLEAR**

**He didn't say nothin'. Just drive.**

**CARTER**

**You have a responsibility to tell me.**

**ALEX**

**Is knowing going to make it easier?**

**It makes it harder.**

**CARTER**

**You get off havin' control over me.**

**Let me choose how to deal with it.**

**“Why would I say he's a top, he’s obviously is a bottom.” said Carter, Alex who was sitting on his lap choke on his nacho chip.**

**ALEX**

**It doesn't matter who's next...**

**we're all on the same list.**

**The three are silent.**

**CARTER**

**Aww, fuck... really?**

**Carter's expression becomes frightened, but he cannot have this. He counters with an irrational bravado.**

**CARTER**

**Then why bother? What's the fuckin'**

**point? Terry and me will be back**

**together on the other side, so why**

**wait any longer?**

**Carter bares down on the wheel, hits the GAS...**

**EXT. AN INTERSECTION - NIGHT**

**The muscle car ROARS past a stop sign.**

**INT. CARTER'S CAR - NIGHT**

**The interior bounces as the car clears a dip past the intersection. Alex, Clear, and Billy tenses...**

**CLEAR**

**Knock it off!**

**CARTER**

**May as well go out under my own**

**free will, right?**

**CLEAR**

**Not with us in the fuckin' car!**

**EXT. ANOTHER INTERSECTION - NIGHT**

**The car GUNS IT through another stop sign.**

**INT. CARTER'S CAR - NIGHT**

**Every passenger hangs on as the car BOUNCES from the next dip.**

**CLEAR BILLY**

**Stop it! Hey, c'mon, man...**

**CARTER**

**What's your fuckin' worry? If it's**

**not your time...? I could get nailed**

**runnin' this red light and you all**

**wouldn't get shit! Only me, right?**

**ALEX CLEAR**

**No! Knock it off!**

**EXT. TRAFFIC LIGHT INTERSECTION - NIGHT**

**Red light. A car approaches with the greenlighted right of way. Carter's car TEARS INTO FRAME, just missing being T-boned in the intersection as the other car HITS THE BRAKES, fishtailing.**

**INT. CARTER'S CAR - NIGHT**

**BILLY**

**And I fuckin' HATED FRENCH CLASS!**

**ALEX CLEAR**

**Carter, stop it, you Get control of yourself!**

**fuckin' maniac!!**

**CARTER**

**That's what I'm doin'!**

**CLEAR**

**I know what you're doing! It's**

**alright to be scared, Carter. You**

**don't have to prove to us how big**

**your balls are. Not now.**

  
  


**Alex looked at Clear and said “You have no idea how big they are,” Clear choked on her drink.**

**CARTER**

**I'm not afraid! I DECIDE WHEN IT'S**

**TIME! I control my life! I control**

**my death!**

**BILLY**

**Watch it! Watch it!**

**EXT. A SECOND TRAFFIC LIGHT INTERSECTION - NIGHT**

**Carter barrels through the intersection as a car makes a left turn at the intersection.**

**TURNING CAR DRIVER'S POV - CARTER'S CAR**

**flying down the road, appears to be heading straight towards him.**

**INT. CARTER'S CAR - NIGHT**

**Carter takes his hands off the wheel and raises them in the air, like a terrorized child on a roller coaster…**

“HOLY SHIT.” yelled Andy

**EXT. A SECOND TRAFFIC LIGHT INTERSECTION - NIGHT**

**The turning car HONKS, ROARING through the intersection as Carter's car nearly clips the rear end of the turning car.**

**INT. CARTER'S CAR - NIGHT**

**Cater hooks his elbow on the window and his right arm around the front seat, driving; no hands.**

**CLEAR ALEX**

**Stop the car! Let us out!**

**BILLY**

**I am... so close to puking, you**

**don't wanna know.**

**CLEAR**

**We're afraid, too, Carter, but we're**

**not going to quit. Maybe you are. You**

**act like you're not, but you are!**

**Carter eyes Clear in the rearview mirror.**

**CLEAR**

**So, stop what you're doing and STOP**

**THIS CAR! Right fucking now!**

**EXT. BACKSTREET - NIGHT**

**In the backseat, Alex and Clear ease... just as a railroad crossing arm drops INTO FRAME in the REAR WINDOW. O.S., the CLANG CLANG CLANG of a RAILROAD CROSSING ALARM.**

**OUT OF THE FRONT WINDOW**

**The front crossing arm drops INTO FRAME before the car. Carter turns and flashes a "that's why I stopped" smile.**

“You're going to kill all of us so that you can take control of your life. That's stupid.” Said Billy

**INSIDE THE CAR**

**CLEAR**

**Move it!**

**Carter turns off the engine, then sits back into his seat and folds his arms, indicating he has no intention of moving.**

**ALEX**

**Billy, get out!**

**Scared to death, Billy fumbles with the car door handle. From the front passenger seat, he looks up and to his left...**

**OUT OF THE DRIVER'S WINDOW - BILLY'S POV**

**A locomotive headlight arcs across the trees... approaching.**

**RETURN**

**CLEAR ALEX**

**Can't you open the door?! Easy, Billy, just open it.**

**Billy collects himself...**

**CLOSE - BILLY'S DOOR HANDLE**

**POPS open!**

**EXT. TRAIN TRACKS - NIGHT**

**The train appears around the blind bend...**

**INT. CARTER'S CAR - NIGHT**

**Billy opens the door and pours out. Clear and Alex are quickly behind him. Carter remains in the drivers seat.**

**EXT. TRAIN TRACKS - NIGHT**

**The train WARNING WHISTLE BLOWS as Alex, Clear and Billy hustle away from the car, on the same side of the tracks. They quickly turn around, desperate to convince...**

**CLEAR**

**Carter, get out!**

**ALEX BILLY**

**Don't do it! Don't do it! It's coming! It's coming!**

**INT. CARTER'S CAR - NIGHT**

**Arms crossed, Carter remains in the front seat. As the interior fills with light from the headlight of the oncoming train, Carter turns and looks at them with a smart ass smile, pleased that he's shown how brave he truly is. With a beam of cocky definace...**

**CARTER**

**It ain't my time.**

**He cooly turns back to the ignition, grabs the key and turns it over... only to be met with the DULL CLACK of a dead engine.**

**Alex held his breath**

**CAMERA SWEEPS INTO HIM AS his EYES FLARE with tension...**

**CLOSE - IGNITION**

**he turns it, again and again... nothing.**

**CARTER**

**looks up...**

**EXT. TRAIN TRACKS - NIGHT - CARTER'S POV - THE TRAIN**

**is moments away.**

**ALEX, CLEAR AND BILLY**

**assess the situation...**

**ALEX CLEAR**

**Get out! Get out of the car! Get out! Get out of the**

**Get out of the fuckin' car! car!**

**INT. CARTER'S CAR - NIGHT**

**As he turns away from them, Carter sees something in the rearview mirror...**

**CARTER'S POV - REAR VIEW MIRROR**

**the passing shadow is darker than any surrounding darkness.**

**CARTER**

**as if the image has effected him, he looks to his lap belt and CLACKS the button. He tugs at the restraint, but it will not move. He's strapped in.**

**He tries to open the door... it won't open. He pulls at the door handle... tugs at the seatbelt... panicked. Horrified, he whips towards the others.**

**CARTER**

**I can't get out!**

**EXT. TRAIN TRACKS - NIGHT**

**Alex, Billy and Clear look at one another, equally frightened...**

**BILLY**

**Man, he really is next.**

**Alex takes off toward...**

**CARTER'S CAR**

**Alex hustles around the drivers' side. CAMERA SWEEPS INTO THEM as Alex desperately tries freeing the seatbelt.**

**THE TRAIN**

**the WHISTLES SCREAMS!**

**CLEAR AND BILLY**

**tense, as the train nears...**

**ALEX AND CARTER**

**Alex grabs Carter by the shoulders and strains with all his might to pull the much more muscular kid out of the driver's window.**

Carter hugs Alex tightly and kisses him very hard.

**CLOSE - CARTER'S SEAT BELT**

**the shadowy presence is reflected by the chrome buckle, however, after it passes... the seat belt begins to TEAR.**

**ALEX AND CARTER**

**As CAMERA SWEEPS IN to ALEX and he releases a deep GROAN...**

**ACROSS THE TRACKS**

**The train TEARS THROUGH the front end of the muscular car! GLASS and METAL ERUPT as the locomotive THUNDERS THROUGH FRAME.**

**CLEAR AND BILLY**

**must turn away from the shower of metal and broken glass.**

**ALEX AND CARTER**

**Alex holds Carter by the shirt at the shoulders, dragging him away from the wreckage. The two boys collapse on the road as the trian continues to ROAR PAST...**

**TRAIN TRACKS**

**as the heavy train wheels THUNDER and CLACK, a broken two foot long shard of the car's debris BOUNCES upon the tracks, kicked about by the train wheels.**

**CLEAR AND BILLY**

**run to the two survivors.**

**CLEAR**

**runs and falls into Alex's arms, holding him tight.**

**ALEX, CLEAR, CARTER AND BILLY**

**Carter lies on the road, urine stains around his crotch, hyperventilating and near tears.**

**“YOU PEED YOUR PANTS LIKE A BABY!” Yelled while laughing Billy**

**CLEAR**

**Scared now?**

**Carter looks at the piece of seatbelt.**

**CARTER**

**It broke!**

**BILLY**

**No one's that strong.**

**CLEAR**

**(to Carter)**

**Bullshit. He saved your life...again!**

**CLOSE - TRAIN WHEELS**

**continue to kick around the chunk of twisted metal...**

**RETURN**

**The THUNDERING TRAIN intensifies the situation...**

**BILLY**

**THAT'S RIGHT! HE'S RIGHT! YOU ARE**

**NEXT! I'M GETTING THE FUCK AWAY FROM**

**YOU!**

**Billy begins backing away from the others.**

**CARTER**

**SHUT UP, BILLY!**

**CLEAR**

**WE DON'T NEED THIS NOW!**

**Billy continues backing away, horrified.**

**BILLY**

**I DON'T NEED IT EVER! GET AWAY FROM**

**HIM! HE'S NEXT!**

**CLOSE - TRAIN TRACKS**

**the debris rattles beneath the wheels...**

**CARTER AND ALEX**

**still on the ground...**

**CARTER**

**FUCK YOU, BILLY! I'M NOT DEAD!**

**BILLY**

**backing away...**

**BILLY**

**YOU WILL BE! YOU'RE DEAD! YOU'RE**

**DEAD!**

**TRAIN TRACKS**

**the debris bounces directly on the track. With great power and force, a train wheel runs over the debris, cutting it in half. It catches in the wheel and is spun around until shot out with the force of a missile...**

**BILLY**

**BILLY (CONT'D)**

**AND YOU AIN'T TAKIN' ME WITH YOU!**

**FWOOP! The metal tears ACROSS FRAME, ripping Billy's head from his**

**Shoulders.**

“You just got depcapted ¾,” Clear said

**ALEX, CLEAR AND CARTER**

**The ROAR of the TRAIN seems exaggerated as they are frozen in horrified shock.**

**EXTREMELY WIDE - ACROSS THE TRACKS**

**The train CLEARS FRAME and is gone... REVEALING, across the tracks, Alex, Clear and Carter can do nothing but watch Billy's decapitated body macabrely wobbling on its two front feet before falling to the ground.**

**CARTER**

**Jesus fucking Christ!**

**For a beat, there is SILENCE... until, in the distance, SIRENS can be heard, approaching. As Alex stands and Carter manages to rise on wobbly legs... none of them can remove their eyes from Billy's body.**

**ALEX**

**(to Carter)**

**You should have been next. After**

**Lewton, you should've been next.**

**That's the only pattern. You should**

**be dead.**

**CARTER**

**You're the fuckin' devil.**

**ALEX**

**(to Clear)**

**But I saved him. I intervened. Just**

**like the plane. That's the design.**

**CLEAR**

**Police are coming.**

**ALEX**

**That's why It skipped Carter and**

**went to the next one in the path**

**of the explosion; Billy.**

**Alex looks at Clear as if expiriencing an intense epiphany.**

**ALEX (CONT'D)**

**My intervention in the death of 180**

**surviviors will cheat the design.**

**CARTER**

**"Intervention?" What are you, God**

**now?!**

**ALEX**

**Of course not! Gods aren't afraid to**

**die! Gods don't die! We do!**

**CLEAR**

**You're losin' it. The police will be**

**here. We have to go to the cabin.**

**You can hide there. Get your head**

**together.**

**Alex considers, mind racing... then realizes...**

**ALEX**

**After Billy... it's me. And then you.**

**Clear grabs Clear and touches her face.**

**ALEX (CONT'D)**

**(to Clear)**

**Hey, I won't let it happen, okay.**

**Carter turns to them; it's as far as he will go to admit he believes... or will help...**

**CARTER**

**Then, get out of here.**

**As she moves to Alex, Clear nods her acknowledgement and appreciation to Carter. She takes Alex by the hand and the pair begin running away, off into the woods.**

**In the DISTANCE, a TRAIN WHISTLE BLOWS, eerie, as if Death was punctuating the moment.**


	19. Sorry (update)

Hey guys, the book is currently going to be on hold because my grandpa had a heart attack and died. I’m sorry UPDATE: I LIVED! IM going to continue the sorry and I will be switching writing styles depending on what's going on in the movie. For example, I might include a video for certain scenes and write time stamps on where they are in the video.


	20. Alex Shotty Bunker

**Notes for the Chapter:**

> I don't own Final Destination

[Alex Bunker Scene](https://www.youtube.com/watch?v=6HrTgWedKG0)

**0:02-0:31**

"you are going to use duct tape to death-proof everything! ALEXANDER THEODORE BROWNING." yells Carter at Alex

**1:18-1:38**

Clear sighs "you are eating cat food, Alex." Alex looks closer and realizes that he is and starts gagging on his pretzel

**1:52-1:58**

"Has anyone else noticed the fact that it's windy every time death is around" questions Ian

**Alex noticed the trashbag that fell down triggering the fishing pole to fall down onto the door. With amazing reflexes, he manages to catch it but with a blade going through the door.**

everyone looks at Alex who is surprised at how he managed to do that

**2:20-3:14**

"two things: one your yelling at death and two you have a hole in your shirt." Nick says.

**Notes for the Chapter:**

> IM ALIVE Also, what do think of this writing style? It's my first time trying out this style and I want some of your feedback on it. Sorry for the short chapter


End file.
